Is Fashion Worth Showing?

In last year's Little Palace in Paris, an exhibition pushed Saint Laurent into the center of the stage - but this time after his death.

Therefore, the continuity of designers and brands provides opportunities for these milestone activities to be staged continuously.

The Jean Paul Gaultier fashion show from Montreal Museum of Fine Arts in Canada, from the fashion T platform to the sidewalk, represents the 35 year fashion career of the new designer. Bandier, the curator, is committed to independently planning and funding the fashion show, and is scheduled to tour the world from Dallas and San Francisco to Madrid and Rotterdam.

Exhibition of "master style" held at Sam Seth palace, London

Fashion is also cultural heritage

The exhibition on fashion shows has a huge global influence and is another development direction in the museum world.

But is fashion worth showing? And, more importantly, are there any clear criteria for judging all kinds of fashion shows?

Recently, people poured into the Pushkin Museum in Moscow to see an exhibition of inspiration Dior. The exhibition was designed by Christian Dior Co, comparing fashion with mainstream works of modern art. In Shanghai, the exhibition of cultural Chanel, which combines the exhibits with the modernism exhibition, will be moved to Beijing in October this year.

Such self financing exhibitions are certainly not purely propaganda, because they have the basis of art. But it also emphasizes the history of a brand and educating the public with the world's largest luxury market product.

The development of museum exhibitions is only a microcosm of the changes in fashion itself over the past millennium. With the development of technology, instant images and global participation, fashion has evolved from a small group of people to a "big fan" for everyone, and has even become an entertainment. As the director of the Paris decorative art museum said, there are so many exhibitions because fashion always attracts a large audience.

On the other hand, museums have also changed the way designers treat their historical archives in certain ways.

In a new museum in Spain, all the historic dresses have their own owners, which is the result of ten years of museum directors' persuasion to persuade many women to donate clothes.

Slightly different from this, recently a fashion editor named Paul rice has held an exhibition of Balenciaga brand at the De Yang Museum in San Francisco. Originally, Nicola Geschel can contact the current brand designer Nicolas Ghesquire and use his historical archives, but for the consideration of the right to host, eventually, as the museum's guest curator, she still used the archives inside the museum and the clothes borrowed elsewhere.

About 30 years ago, filing clothes was not a common thing. As mentioned earlier, in 1983, the exhibition of designer Eve Szentloran of the Metropolitan Museum of Art in New York, when the brand could only provide a brown lace skirt, the curator, Ms. Vreeland, had to herself as a donor of Saint Laurent costume, and asked several American women to donate their dresses. It was not until later that Eve Szentloran's Pierre Berg set up a brand record room, which meant that the acceptance of fashion was not only an ornamental art, but a part of the cultural heritage. (Berg)

Now, all brands are constantly learning from the past, at least because of the history. inspiration The source. Ferragamo owns a museum in Florence, Italy, and the Gucci brand will also open a special museum in September this year. Its current designer, Frida Giannini, said that the museum's "integration of fashion and art" will be held in a fifteenth Century building, which used to be her office.

It is worth noting that the exhibition of Giorgio Armani fashion designer Giorgio Armani in Italy in Guggenheim Museum in 2000 has aroused controversy, because the designer himself is the donor of clothing. The curator of the Museum of decorative arts in Paris sees the exhibition as an example of "changing the status quo".

All efforts have been used to revive the past and provide "the impact of visual enthusiasm", thus putting forward a simple question: what is on display at the fashion exhibition? The hidden question is: who will be the spark, especially for the living designers? Should an independent museum director take an objective part or work with designers? Can an exhibition be considered objective?

Claire Wilcox, senior fashion curator of the British Museum of V&A, described her experience of holding exhibitions throughout her life, and said she allowed herself to adopt traditional methods for "years of research". Because museums attach importance to art and handicrafts, curators also need to participate in the protection of textiles and innovation in this field. She also focuses on catalogues and online photos, because she is dealing with "the most beautiful collection in the world", and she begins to "understand the meaning of design vocabulary".

Fashion shows are subtle in sponsoring this aspect. Because museums lack funds, almost every fashion show will introduce some external investment. But museums are frustrated with sponsors. Even if the museum's creative team does research, the rich brands will not try to subsidized museums. More annoying is that luxury groups like LVMH and PPR prefer to invest in contemporary art projects or fashion museums.

At the Montreal Art Museum, curator Bandier insisted that "the museum is not a showcase". "Independence is sometimes expensive, but freedom is priceless," she said. I hate the word "blockbuster". If we compare the movie with the movie, we belong to an independent link rather than a part of Hollywood. Looking back at the first exhibition of Eve Szentloran held in San Francisco, I insist that there are independent curators and experts.

However, how can museums give in-depth and critical objective evaluations at fashion shows? These evaluations may appear in an exhibition of sponsorship brand planning, for example, "the most creative and famous designers in the past few years".

Some museums have a clear understanding of the themes of the fashion show. John Bundchen, director of the San Francisco Museum of fine arts, said that the first consideration is whether an exhibition can "find its strengths and discover its origins" for museums that collects textiles, clothing and fashion for a long time. He lists 46 original exhibits to add luster to the Balenciaga exhibition.

He continued: "second is the fact that fashion designers are artists. For a special exhibition, we will look for the "genius factor". We hope that the designers are creative -- they create unique ideas, shapes, techniques or styles, which are totally different from before. They need to have extensive and far-reaching works that can inspire and influence generations of designers continuously.

Alexander McQueen "beauty of the wild"