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The article discusses an exhibition called "Moda Hoy! Latin American and Latinx Fashion Design Today" at the Museum at Fashion Institute of Technology in New York. The exhibition aims to showcase the diversity and complexity of Latinx and Latin American fashion design through established designers. It is organized thematically into categories such as art, sustainability, Indigenous heritage, gender, politics, popular culture, and craftsmanship. However, the article suggests that the exhibition overlooks the significance of tropicalism and the sociological aspects of Latin culture, race, class, and colonial legacies. It also raises questions about the representation of Indigenous, Black, Caribbean, and diasporic fashion designers. The article calls for ongoing efforts to diversify fashion archives and decenter fashion narratives from an antiracist perspective. [Extracted from the article]

The jacket on the right is in navy blue velvet, with rounded notched lapels edged in cotton piping, and features a barrel cuff. The left hand jacket is in grey cotton with a thick red pinstripe, peak lapels and a fish tail cuff. Keywords: Menswear; dandy; peacock revolution; Carnaby Street; 1960s EN Menswear dandy peacock revolution Carnaby Street 1960s 745 751 7 10/31/23 20230701 NES 230701 Arriving at Pickford's House in Derby, the grand Georgian town house is perhaps a little grander than its neighbors, but nevertheless sits in a terrace of stately red-brick properties, with sensible large windows and smart black railings. [Extracted from the article]

Quotes from the garment owners at the foot of each mannequin added a dimension rarely seen in a fashion exhibition: they were the almost-hidden gem of the show. Keywords: fashion exhibition; fashion design; Australian fashion; Carla Zampatti EN fashion exhibition fashion design Australian fashion Carla Zampatti 737 744 8 10/31/23 20230701 NES 230701 Among Australian brands, few would be unfamiliar with the name Carla Zampatti, who passed away suddenly in April 2021 after 56 years leading her eponymous brand. Fashion design, fashion exhibition, Carla Zampatti, Australian fashion. [Extracted from the article]

Writing in the comprehensive PICASSO/CHANEL exhibition catalogue, Juan Gutiérrez credits Chanel's work as a "constant reappropriation of types and forms that fell outside the boundaries of elegance" (Gutiérrez [1], 48). Ballet, cubism, mannequin, sportswear, theater Keywords: ballet; cubism; mannequin; sportswear; theater EN ballet cubism mannequin sportswear theater 603 611 9 09/11/23 20230501 NES 230501 PICASSO/CHANEL focuses on work both produced from 1910 to 1930. [Extracted from the article]

Visitors with fashion knowledge could also wish that the display was further informed by recent research in fashion studies from critical wardrobe studies to approaches that center on decoloniality and fashion. Fashion exhibition, Norwegian fashion, fashion history, museum collection, contemporary fashion, museology Keywords: Fashion exhibition; museum collection; Norwegian fashion; fashion history; contemporary fashion; museology EN Fashion exhibition museum collection Norwegian fashion fashion history contemporary fashion museology 473 482 10 07/10/23 20230401 NES 230401 Permanent fashion displays are notoriously difficult to put together. [Extracted from the article]

By entering small rooms to watch a Lagos fashion week show, or to hear about a designer's inspiration, affords the visitor a multi-sensory aesthetic and epistemic experience. Africa Fashion exhibition, curated by Checinska, Christine V&A Museum, South Kensington, London, 2 July 2022 - 16 April 2023. It is not only a long overdue effort in decolonialism by the V&A, but also a beautifully curated exhibition on a par with the shows of Western designers the museum has presented. [Extracted from the article]

Bill Belew continued to draw on Elvis's identity and interests alongside contemporary fashion to devise ensembles for him that worked authentically and visually, culminating in his most iconic visual representation: the white bedazzled jumpsuit. Though I was born after Elvis had died, he still loomed large over my life - literally - in the form of an oversized framed portrait at my grandmother's house. The white jumpsuit seemed to distill the trends of the decade into a motif that was particular and favorable for the personality of Elvis. Following the segment, I Singer Presents... Elvis i , later known as the '68 Comeback Special, Belew and Elvis forged a lifelong collaboration. [Extracted from the article]

Gracing the cover of the exhibition catalog, it speaks to the turbulent social context for the exhibition's production and reception. Keywords: Garmenting; contemporary art; fashion exhibition; performance art; identity EN Garmenting contemporary art fashion exhibition performance art identity 305 310 6 05/05/23 20230301 NES 230301 Visitors to fashion exhibitions have come to expect a spectacle. Garmenting, contemporary art, fashion exhibition, performance art, identity. [Extracted from the article]

Chintz was especially sought after for Dutch regional costume, as is highlighted by one of the very first exhibits, an eighteenth-century chintz modesty piece or I kraplap i , which was used to cover the low necklines. There are few fabrics that appeal to the imagination as much as chintz. The exhibition lays bare the striking resemblance of both fashion and interior chintz textiles by combining the two; the wall coverings are made of a chintz with small motifs, which was generally reserved for clothing. [Extracted from the article]

So much for my reflection on the lexical part of the exhibition, which leads me to the second (first, respectively) part of the exhibition title - I In America i . On the occasion of its 75th anniversary, the Costume Institute at the Metropolitan Museum of Art organized a comprehensive program of exhibitions celebrating and revisiting American fashion. The selection of garments presented to the public in the exhibition was very broad, style-wise, time-wise and inspiration-wise, the overall austerity and fragmentation of the exhibition partially obscured important contexts. Despite the fact that the exhibition featured garments and brands that actively espouse the aforementioned sources and values, be it Rihanna, Neil Grotzinger, Rudi Gernreich, and others, it was far from clear from the chosen narrative that these are the starting points and values that are so defining, particularly for the American fashion world. [Extracted from the article]

" I Garmenting i is decidedly I not i a Fashion Exhibition", writes Sarah Parrish in her review of "Garmenting: Costume as Contemporary Art", an exhibition at the Museum of Arts and Design in New York City. Featuring the work of 35 contemporary artists, this "scholarly" and "ambitious" exhibition is more than another art-meets-fashion exhibition. "Glittering Bodies: The Politics of Mortuary Self-Fashioning in Eurasian Nomadic Cultures (700 BCE-200 BCE)" by Petya V. Andreeva is a fascinating article about the significance of body adornment. [Extracted from the article]

The 1896 Berliner Gewerbeausstellung was a transformative moment for city and nation alike. The exhibition announced Berlin's pre-eminence as a scientific and industrial city and bolstered an emergent German national identity. Including displays of Egypt and Germany's formal colonies also revealed Germany's competence as a colonial power. By illustrating its skill in both aggressive conquest and subtle intervention, city and nation thought themselves capable of competing with European rivals at home and abroad. However, the two visions of colonialism, cloaked in the guise of mass entertainment, have rarely been brought into conversation with one another. This article seeks to discuss this colonial–Oriental dichotomy by focusing on tensions between education and entertainment in display techniques, particularities of racial difference in ethnographic display, the use of advertising, and the insertion of new technologies. Contributing to a deeper understanding of race, empire, and modernity in the German context, the Gewerbeausstellung offers a jumping off point for further comparison to other local, regional, and international exhibitions and an avenue to explore how notions of modernity factored into formal and informal imperial arrangements. Ultimately, it sheds light on how an exhibition helped to fashion a global, imperial city at the turn of the twentieth century. [ABSTRACT FROM AUTHOR]

Interviewed in 2004, designer duo Viktor and Rolf outlined their ambivalence towards fashion exhibitions suggesting that 'somehow life is taken out of the subject' (2008, cited in Teunissen, 'Understanding Fashion through the Museum in Melchior, MR, 2014). Garments seeking spectator attention within the museum space are often perceived as static entities devoid of their original function as embodied artefacts. There is no denying an inert aura pervades listless materials that have supposedly lost their agency, now confined to the vaults of the museum-as-mausoleum. In their re-purposed role of performing as reminders of a life now departed, this article considers curatorial strategies that seek to revive a living presence in garment display with specific reference to the remodelling of Frida Kahlo in the V&A exhibition 'Frida Kahlo: Making Her Self Up (2018).' Addressing Dudley's suggestion in Museum Objects: Experiencing the Properties of Things (2012: 19) that an artefact's 'fundamental material characteristics' should be at the heart of contextual interpretation, the role that an object's material properties can play in the re-materializing of embodiment is evaluated. In the V&A exhibition, a narrative emerges on clothing as an agent that conceals vulnerable corporeality. Sartorial practices armoured Kahlo's body and the role material entities can play in containing and preserving the illusion of corporeal substance will be investigated. Given this premise, it seems wholly appropriate to focus on the contribution that the mannequin can make to this conceptual framework. After all, it is an artefact with a central occupation of establishing bodily integrity in the display of clothing. Reiterating Clark's suggestion in The Textile Reader (2012) that the mannequin contributes to the vocabulary of a curatorial brief, this article proposes that this artefact can interrogate the tensions that exist between Kahlo's sartorial practices and her abject body. Substantiating Appadurai's premise of material objects' agency in The Social Life of Things (2001[1986]), the exhibition arguably employs the once humble tailor's dummy in a significant role, thereby reconstructing its dominant function of embodying fabric in the museum. [ABSTRACT FROM AUTHOR]

Curated by Danielle Whitfield, "Collecting Comme" marked the second fashion exhibition in three years featuring garments by Rei Kawakubo and her Japanese fashion brand Comme des Garçons. Rather than featuring garments from a variety of different donors and collectors, as was done at The Met, "Collecting Comme" featured sixty-five garments solely collected by Japanese fashion collector Takamasa Takahashi between the 1980s and 2010s, most of which have since been gifted to the National Gallery of Victoria (NGV). The second gallery room, named "Construction and Deconstruction", showcased Kawakubo's innovative, original and unorthodox construction of garments as well as deconstructed garments. [Extracted from the article]

This article takes a new look at Balenciaga: Ein Meister der Haute Couture, the exhibition held at the Museum Bellerive in Zurich from May 31 to August 16, 1970. By exploring the materials preserved in the museum's archives (now at the Zurich University of the Arts), the study sets out to reconstruct this retrospective dedicated to Cristóbal Balenciaga and to consider its relevance to the museology of the Spanish creator. Examining these archival materials provides an extraordinary opportunity to reflect on the history of fashion exhibitions, on the genealogy of these three-dimensional artifacts and on the practice and discipline of fashion curating. How do we decide whom and what to show? How do we construct a museum collection that represents fashion? To address these questions, this article analyzes not only the exhibition project, but also and above all the decision-making processes that preceded and shaped this exhibition in particular. Balenciaga: Ein Meister der Haute Couture was an exhibition produced in an institutional dimension which saw a close connection between the museum and the school of applied arts. At the root of this project lay the intentions of a school of fashion design: this allows us to think about the relationship between the design of fashion and the languages used in exhibitions of and for fashion. [ABSTRACT FROM AUTHOR]

The article offers information on "Heavenly Bodies: Fashion and the Catholic Imagination" in Metropolitan Museum of Art in New York City in 2018. It mentions that exhibition displayed secular clothing by leading fashion designers that had been inspired by religious dress and religious art and secular designs that had been inspired by sacred art.

Keywords: Hamilton; Milli Gould; Canadian fashion; retailing; fashion exhibitions EN Hamilton Milli Gould Canadian fashion retailing fashion exhibitions 269 277 9 02/10/21 20210301 NES 210301 "It's only 45 minutes to the fashion-capitals of the world at Milli of Hamilton" - Advertisement copy, 1960s. The exhibition I Milli: A Celebration of Style i , at the Art Gallery of Hamilton (AGH) from April 13, 2019, to February 9, 2020, highlighted the work of local fashion entrepreneur and designer Milli Gould, who brought exclusive European designs to the city for over 50 years. The exhibition was promoted by the Gallery as "the first comprehensive exhibition focused on Milli and the first exhibition at the AGH to put fashion in dialogue with art." Hamilton, Milli Gould, Canadian fashion, retailing, fashion exhibitions. [Extracted from the article]

As the commodity chains supporting the fashion industry have become ever more global and complex, so the work of constructing and maintaining the reputations of fashion cities such as London has also needed to evolve. Museums have played a key role in this process through their dissemination of discursive narratives about the places, spaces, and people that constitute London's symbolic fashion capital. Taking the Victoria and Albert Museum as a primary case study, this paper explores how changes to the networks and processes of the fashion city in the decades following the Second World War were connected to the growth of fashion within the museum. Looking at two key exhibitions: Britain Can Make It (1946) and Fashion: An Anthology (1971), it traces how the museum responded to processes of deindustrialization and cultural change by bringing the city's commercial fashion cultures into the museum space, resulting in the museum becoming an important site for the fashion city. Finally, it asks whether the legacy of this process has resulted in increasingly narrow and homogenous fashion exhibitions that have the potential to harm London's fashionable reputation by excluding many of the diverse networks and places that make the city's fashion culture unique. [ABSTRACT FROM AUTHOR]

In this exploratory piece, I read the material and metaphorical world of fashion for insight into the contemporary political condition. Drawing on my participation in a week-long professional training program in fashion and dress curation—hosted by the Victoria & Albert Museum (February 2018) —I examine curatorial practices as a methodological resource for engaging the limited and unstable spatiotemporal and subjective investments of modern politics. I suggest that fashion curation can reimagine and rematerialize political geographies and political subjectivities in the uncertain contexts of global urbanization, decolonization, and other contemporary challenges to political modernity. The narrative approach and visual documentation aim to immerse the reader in an experiential encounter with a curatorial methodology for feeling how the political world might be fashioned otherwise. This contribution works to mobilize and affectively engage readers in material metaphors for the complexities of contemporary spatiality and subjectivity. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Swinging London: A Lifestyle Revolution" at the London, Fashion and Textile Museum in London, England on February 8-June 2, 2019 and the book "Conran/Quant: Swinging London: A Lifestyle Revolution," by Geoffrey Rayner and Richard Chamberlain.

In this article, I discuss the curatorial moment in a museum that rendered a pair of embellished trousers in a new light, and what acts of giving space to an object and its story can do to rewrite a range of narratives, including global fashion histories, diverse cultural voices, museal collections and the extent of ongoing archival violence. I draw on a seminal South African fashion exhibition that I curated in 2019 at the Zeitz MOCAA museum, titled 21 YEARS: Making Histories with South African Fashion Week. In conjunction with the exhibition, we convened workshops and talks as part of the exhibition's public program that used decolonial strategies to invite greater diversity and participation for an expanded range of inclusion. This article follows the complex, largely disavowed social, historical, and political histories stored in the seams of one fashion object—a pair of well-worn and patched jeans—that are activated when recontextualized within the value-laden, knowledge-production museum field. [ABSTRACT FROM AUTHOR]

An Exhibition by Judith Clark at the Cristóbal Balenciaga Museoa, Getaria (San Sebastian), March 24, 2018 - January, 24, 2019 Introduction I Cristóbal Balenciaga Fashion and Heritage-Conversations i (abbreviated to I Conversations i in this review) took place at the Cristóbal Balenciaga Museoa. The Museoa, which opened in 2011 in Cristóbal Balenciaga's (1895-1972) native town of Getaria, is dedicated to the study and preservation of the couturier's legacy.[1] Motivated by the European Union's celebratory slogan for 2018: "European Year of Cultural Heritage: where the past meets the future", the Museoa proposed a series of three shows. The Museoa approached exhibition curator Judith Clark to reflect on these issues through a display. The design therefore quotes remembered past exhibitions that have paid attention to Balenciaga, bringing another kind of reference to the project...that are shown along the route as props..." Judith Clark, exhibition panel for I Cristóbal Balenciaga. [Extracted from the article]

Why are some fashion brands cool - and others not? The exhibition design proposed a third "fusion" section featuring fashions inspired by indigenous textiles, while the exhibition didactics argued that "a common Mexican aesthetic brought the clothes together". Curated by Paul Martineau, the exhibition features over 160 "the most alluring" fashion photographs by 89 photographers, organized chronologically, in five galleries, "punctuated by eight... clothing ensembles on mannequins created by an exemplary fashion designer from each period.". [Extracted from the article]

In the uppermost shelf, three of his iconic red evening gowns hold sway, with the central spot reserved for one of Lomana's favorite dresses, originally designed for Princess Luciana Pignatelli in the late 1960s and reedited in the year of Valentino's retirement. The curator, Juan Gutierrez, stresses that he and his team have not had the chance to study Ms Lomana's personal wardrobe in detail, leaving open "the possibility of exploring in depth the many seams of which we have only been able to have a superficial glimpse"(7) (Gutierrez, [4]). 4 Gutierrez, J. 2018a. "El armario de Carmen Lomana: Moda, Museos y Coleccionismo", El Armario de Carmen Lomana. 2 The Museo del Traje was interested in the McQueen dress for the permanent collection, but Lomana declined, alleging that she wears it every Christmas (Salgado, [7]). [Extracted from the article]

In VAR's new hybrid review–dialogue format, I talk with one of New York's leading museum‐based fashion curators about his work on the Brooklyn Museum exhibition Pierre Cardin: Future Fashion (July 2019–January 2020). The exhibition celebrates Cardin's role in the mid‐twentieth‐century "democratization" and "pluralization" of the European fashion system by pioneering a prêt‐à‐porter [ready‐to‐wear] collection, and spotlights his development of various strategies for licensing his designs, name, and initials to global partners. It also reveals a lesser‐known side of Cardin, showing his extensive travel and cultural advocacy for garment‐industry practitioners in China and Japan. In the dialogue, Yokobosky reflects on first meeting Cardin in Paris, remarks on producing the exhibit, and relays his perspective on why Cardin's "inclusive futurist" design ontology might be important for us to consider at this present historical moment. The article points toward two potentially productive but understudied areas for future anthropological research: fashion museums and exhibitions as sites for the organization of knowledge about social history and public culture, and the culturally (re)productive work of fashion curators—one form of "designerly" agency nested within museum institutions. [ABSTRACT FROM AUTHOR]

This review takes the form of a conversation between curator Amy de la Haye (AH) and exhibition maker Jeffrey Horsley (JH). I was acutely aware that it was the first fashion exhibition the MET has staged that was dedicated to a living fashion designer since the Yves Saint Laurent show in 1983 I [staged by Diana Vreeland]. i That exhibition caused so much controversy because the displays were likened to those seen in department stores such as Bloomingdale's and Neiman Marcus. Perhaps it just shows how much the perception of our discipline has changed ... that major cultural institutions hosting exhibitions of work by living designers is no longer contentious. The exhibition that I'd really have been fascinated to see would have been the exhibition that CDG might have staged themselves - maybe outside of a museum or institution. [Extracted from the article]

The article present an exhibition "Georgia O'Keeffe: Living Modern" at the Brooklyn Museum, which focuses on painting and photography, and the memory and the myth, of Georgia O'Keeffe.

The article reviews the "Mary Quant" fashion exhibition at Victoria and Albert Museum in London, England until February 16, 2020.

Curatorial practice is a complex process that aims to educate visitors through objects, text, display, and design as they move through a three-dimensional gallery space. This essay offers a view into the planning of The Body: Fashion and Physique exhibition, which was on view at The Museum at The Fashion Institute of Technology (FIT) from December 5, 2017–May 5, 2018, and which also acted as a catalyst for this special issue of Fashion Theory. I discuss key objects from the show and consider their historical significance in tandem with theoretical issues that formed the basis of the exhibition's concept. I also explore some of the challenges that arose for me during the curatorial process, such as grappling with the typical display practices of a fashion museum. A goal of this essay, as well as this issue more broadly, is to open a frank dialog within the fashion studies community about the role the museum can play in both challenging and perpetuating narratives about body size, aging, ability, race, and gender identity in fashion. [ABSTRACT FROM AUTHOR]

Fashion, despite its extravagant beauty and 'glamour and glitz', is an industry that involves much mental and physical stress, often inducing mental illnesses represented by depression. Under the constant competition and the need to show something new, designers often struggle with creativity and originality. It's not surprising, therefore, that designers rank 7th on the long list of 'Jobs with the Most Suicides Per 1000'. As can be seen from fashion shows and exhibitions, designers are entirely open to much criticism, as the industry is especially hospitable towards novel ideas and hostile to mediocrity and plagiarism. Many fashion designers in this infamous industry have been known to suffer from depression, manicdepressive disorder, and severe anxiety - including Alexander McQueen, L'Wren Scott, and Kate Spade. Because "Opening up personal struggles to the public requires to endure some damage on the brand identity", as Spade's sister said, it is often that instead of revealing symptoms through media, many designers subconsciously express their struggles through clothes and collections. By focusing mainly on haute-couture and designers' mental illnesses, this paper examines how 'fashion's troubled mind' influences brand aesthetics. Brand aesthetics include the clothes themselves, the brand's visual image, style concepts, advertisements, and the criticisms they receive. Paying special attention to the periods in their lives when they suffered from a mental illness, fashion shows and launched collections are analyzed from an artistic, geometric, and psychological point of view. Theories of fashion will be applied to observe the influence on fashion culture, concentrating on the public and observer-wearer relationships. Street experiments and surveys are conducted to identify whether the average person can also catch out the visual cues signifying traces of mental instability. The conclusion elaborately illustrates how the conditions interfere with artistic expression reflected onto the features of fashion design. [ABSTRACT FROM AUTHOR]

The article reviews exhibition "Heavenly Bodies: Fashion and the Catholic Imagination" at museums Met Fifth Avenue and Met Cloisters in New York City, New York from May 10, 2018–October 8, 2018.

The article reviews the fashion and clothing exhibition "Transformation: one man's cross-dressing wardrobe" held at Walker Art Gallery in Liverpool, England from October 2015 to February 2017, and at Sudley House in Liverpool from March 2017 to March 2018.

The article reviews two fashion exhibitions, "La Mode retrouvée: les robes trésors de la comtesse Greffulhe," at Palais Galliera in Paris, France; and "Proust's Muse: The Comtesse Greffulhe" at Fashion Institute of Technology, New York City, featuring fashions of comtesse Greffulhe.

The article reviews the exhibition "Liberty in Fashion" at the Fashion and Textile Museum, London, England from October 2015 to February 2016 that featured exhibit from department store wares.

As Lou Taylor has written, a defining feature of American museum collection of costume is “their wealth of couture garments.” This article investigates the pioneering and ultimately dominant role of the Costume Institute at the Metropolitan Museum of Art as a collector of this material—a marked shift from its founding interests—by exploring a little known 1940 charitable exhibition at the Wanamaker department stores in New York and Philadelphia, organized by socialites Lady Mendl, Mrs. Harrison Williams, and Mrs. Ector O. Munn. The collection of immediately pre-war haute couture garments exhibited and subsequently donated to the Costume Institute in 1946 formed the material and qualitative core of the young institution’s collection of essentially “new” haute couture, setting a precedent for a strategy of collecting that remains paramount. Emphasizing the long-term impact of this groundbreaking assemblage on the Costume Institute’s collection and exhibition program, this article analyzes the changing epistemological contexts—from tantalizing glimpses inside the celebrity wardrobes to “historicized” objects of practical study and finally as art—of this collection and the garments it comprises through an examination of the exhibitions in which it has played a significant role. [ABSTRACT FROM AUTHOR]

This essay investigates the private and public responsibilities of building the national collection of textiles and fashion at the Victoria and Albert Museum, London. Taking the British designer Jean Muir’s collection as a case study and drawing on previously unpublished oral history recordings by Dr Linda Sandino, it will interrogate the way in which Valerie D. Mendes, Assistant Keeper of Textiles (1975-1990) and Keeper of the Department of Textiles and Dress (1990-2001) developed the V&A’s fashion collection in the wake of Cecil Beaton’s seminal exhibition Fashion: an Anthology (1971). The essay takes the form of an historical narrative interwoven with extracts from the departmental archive and Mendes’ own commentaries. It is titled after her 1996 Courtauld Institute lecture, Who Gives a Frock?. [ABSTRACT FROM AUTHOR]