The Most Anticipated Fashion Show In 2012

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, is there a clear standard for judging various fashion shows?

People rushed to the Pushkin Museum in Moscow to see an exhibition of inspiration Dior. Fashion people emerged in Beijing. It was only a comparison of the fashion with the mainstream works of modern art for the LV's trip to the art world.

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 "worship of millions" for everyone. It has become an entertainment and a topic itself.

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, collation of archival clothing is 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 history is the source of inspiration.

The Ferragamo brand owns a museum in Florence, Italy, and the Gucci brand will also open a special museum in September last 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 "passion for visual impact". This raises a simple question: what is to be exhibited in fashion exhibitions? The implicit question is: who will be a spark, especially for a living designer? Should an independent curator take objective participation or work with designers? Can an exhibition be considered objective?