Upcoming Shows & Exhibits

thanks soft!! more incentive for me to get my butt over to the ICA and take a look around...

have been meaning to go for months :doh:
 
this is opening soon at the:
American Folk Art Museum
45 W. 53rd St., New York, NY 10019
between Fifth and Sixth Aves.
212-265-1040

The Great Cover-Up: American Rugs on Beds, Tables, and Floors

6/5 thru 9/9 Tue-Thu, Sat-Sun, 10:30am-5:30pm; Every Fri, 11am-9pm

Sixty-five rugs and coverings from the eighteenth through mid-twentieth centuries.

this museum isn't huge and it is worth the trip on a lazy sunday afternoon.

Photo by American Folk Art Museum
 

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This summer are some "must seen" exhibition (or festivals) :
Venice Bienal
Documenta Kasel
Münster SkulpturProjekt...

If you are lucky enough to live next : GO... this is the most incredible contemporary art events....for this summer!!!!
the 12th Documenta seems to be amazing!!!!!!!!!
I would love to go... but nobody wants to come with me....and it's not very next to my home....
But I will do for sure the Lyon Bienal this year (from sept. 2007 to jan. 2008 in Lyon, France) and the Printemps de Septembre, Toulouse, France.
 
Tranoi Homme Tradeshow Complements Paris Menswear Season

PARIS, Jun 9, 2007

With over one hundred designers and international top labels participating, Tranoi Homme returns for its third season in Paris at the Palais de la Bourse.

Slated from June 29th to July 2nd , the dates coinciding with the Paris Menswear Spring 2008 season, and partly with the Haute Couture Fall 2007 season, Tranoi Homme Spring / Summer 2008 edition is a must-see of serious fashionistas.

The trends and innovations are spearheaded on the catwalk, but the tradeshow provides the body of the spear. Thus, as serious menswear follower does not have an excuse not to attend.

Open only to trade and press, free registration is now open at www.tranoi.com.

http://blog.fashionwindows.com/index.php/2007/06/09/tranoi_homme
 
Hokonui Fashion Design Awards

Site link:
The show: Next year, the Hokonui Fashion Design Awards will turn 20.
Since its beginnings, the event has grown to become one of the crowning glories for both Gore and for New Zealand's fashion industry.
Alongside Auckland Fashion Week, the id Dunedin Fashion Week and World of Wearable Arts now based in Wellington, the Hokonui awards supported by Peugeot have helped kickstart the careers of many New Zealand designers.
The event began as a way for the community to get together to show off their skills but it quickly gained ground and drew in some of the larger names of the New Zealand fashion industry, with heavyweights Trelise Cooper, NomD, and Kate Sylvester returning time and again to be involved with judging.
Now a glamorous and prestigious affair, the show attracts entries from as far afield as Australia and Europe, and is similar to a major international rock concert – people are prepared to queue for hours to ensure a seat on the night.
Last year the event was split into two nights to ensure those involved truly got their moment in the sun, with Friday night's show known as the Hokonui Strictly Design, while Saturday holds the supreme crown of the Gala Evening, when winners are announced, frocks showcased and audience members compete to get as glam as possible.
However, organisers remain adamant the event is for the community and use local stockists for everything from the models to the catering and, regardless of their experience, anyone can enter the awards.
Tickets are on sale at Cairns Music in Gore for the shows, to be held on July 28 and 29.
The executive producer: For the past 12 years, Heather Paterson has been involved with the event and has helped it go from strength to strength.
She began as a model in the show before entering and winning the following year.
After that, it was a slippery slide into organising the show, which she said had not always been easy.
"It's a lot of work but I enjoy it. It's my passion, really," Mrs Paterson said.
She attributes the growing success of the awards to the fact they do not remain stagnant.
"We're trying to improve and change it every year, not repeating the same old thing." Numbers of garments entered in the awards have increased every year to the point where a limit of 200 had to be introduced to ensure a smooth-moving show and to give each garment its time in the limelight.
This year, a record 285 garments have been submitted for the show, leaving the judges the task of eliminating those less suitable for the catwalk.
Some parts of the awards have stayed the same; there are no limitations on the age of designers and they do not have to be fashion design students.
However, a lot of designs did come from fashion design schools, particularly in Dunedin and Christchurch, and interest from overseas had been growing, she said.
"We don't necessarily need overseas people to make it work," Mrs Paterson said.
"I think it works very well as a way to showcase what New Zealand has to offer." And what New Zealand had to offer was a great deal.
"Because of the design of the country you get something quite unique with designs here.
"People aren't afraid to follow their thoughts." While the awards have grown, they have not become too big for Gore, and Mrs Paterson has been working hard to ensure they remain in the town that created them.
"We try to encourage local people to enter.
"They find it hard and think it's for designers, but it's not ... We have got so many talented people here," she said.
The main limitation on an entrant was not being employed fulltime in the industry or having a commercial design label.
And while the awards have come to be known alongside other internationally recognised fashion shows, Mrs Paterson said they were able to do something unique in Gore.
"What we do here, it can't be done in Auckland. The community have a lot to do with it." Small communities were able to get behind projects such as this and inject a uniqueness into it, as was seen in Nelson when it hosted the World of Wearableart awards, Mrs Paterson said.
Because they do not have access to top fashion models, these were sourced from around Southland, with school pupils, tertiary students and other willing volunteers putting their hand up to help out.
The atmosphere created by this was really positive and gave the show a good feeling, she said.
The models' job is an integral part of the process, and includes long hours getting ready, rehearsing shows and being on display for the panel of judges. However, it had its benefits, too, with some models launching into a career after being scouted during the awards.
"They do a fantastic job, most of them are glad to be helping out," Mrs Paterson said.
"It's more of a big family ... people really enjoy what they're doing." Much of her year is spent organising sponsors, enticing more money from established sponsors and inviting high-profile designers to sit on the judging panel.
This has become easier with time, with names such as Francis Hooper and Trelise Cooper wanting to come back to be involved again.
"The whole thing has been one huge learning curve." The size of prizes have taken a huge leap during the past few years, with a top prize of $10,000 in cash and awards.
It was important for the awards to be seen as something to aspire to, and having prizes of $1000 on average meant this happened, Mrs Paterson said.
The established designer: Queenstown fashion designer Lisa Payne has been an enthusiastic supporter of the Hokonui Fashion Design Awards since she first entered in 2005.
The high reputation had enticed her to enter while living in Christchurch but, because she was working in her own pattern-making business, she was not eligible.
However, after moving to Queenstown, she gave the awards a go.
"I found it to be amazing. I didn't get anywhere but it was amazing to get everything up there (on the catwalk)," Ms Payne said.
The experienced encouraged her to start her own design label, Firefly, the following year. Using the Hokonui awards as a reference point meant some big names in the industry were familiar with her work, which helped her independent launch.
Since then Firefly has gone from strength to strength, featuring at New Zealand Fashion Week in Auckland as well as the id Dunedin Fashion Show.
Ms Payne's label has been picked up by boutique stores throughout the country as well as in Australia.
This year she is returning to Gore as a guest judge for the event, alongside designers Kate Sylvester, James Dobson, of Jimmy D, and Doris du Pont, of DNA, and Sydney-based magazine Lino creative director Rex Turnbull.
"I'm very excited, I can't wait to see all the entries and I think everything is going to be so skilled," Ms Payne said.
In judging, she will be taking into account how commercial the designs are, possible target markets and design details and cut.
The newcomer: Winning the top prize at last year's Hokonui Fashion Design Awards has helped to ensure young designer Helen Adam is well on the way to fashion design stardom.
Formerly of Invercargill, 21-year-old Ms Adam graduated from Otago Polytechnic's school of fashion last year with a portfolio packed with excellent experiences.
As well as being involved in the id Dunedin Fashion Show, she was also selected as an Air New Zealand "Inspiring New Zealander" and spent a week working with designer Karen Walker.
Ms Adam's experience with the Hokonui Fashion Design Awards has spanned the years after she first entered when she was in year 12 at school in Invercargill.
"It's good because I got to see my stuff on the catwalk at an early age. There are not many competitions out there that anyone can enter," said said.
Being able to see her designs against a range of other designers' garments meant she could see what worked and what did not, which helped her get into fashion design school.
"I think it does help to do them when you're younger if you carry on to design school. Then you start visualising what things look like on the catwalk," she said.
Ms Adam is taking a year off, working in a retail store in Dunedin to save money before pursuing her own career, and is entering the awards for one last time with her collection, You Dark Cutie.
"It (the show) is of such a high calibre, with such good judges every year. Everyone knows it now, so you can put it on your CV and it's definitely recognised." Entering every year had helped get her name out into the industry and allowed top designers to see her work and remember it, Ms Adam says.
As well as winning the overall award of excellence last year, she also won the wool award.
"A couple of days afterward, everyone had heard it on the radio and saw photos in the magazines ... It's amazing how many people stopped me in the street to congratulate me," she said.

stuff.co.nz
 
NUNO: Japanese Tradition/Innovation in Cloth

March 28–October 7, 2007
Free exhibition

Since its founding in 1984, NUNO, headed by Reiko Sudo, has become one of Japan’s most influential and innovative textile producers. NUNO fabrics are known for the unconventional materials and processes used in their creation, linking traditional textile techniques with state-of-the art manufacturing technologies. The BMA will display more than a dozen examples of these beautiful contemporary textiles from its collection, including pleated and folded textiles inspired by the Japanese art of origami, or folding paper, woven fabrics whimsically printed with scattered rubber bands, and layers of transparent silk interwoven with strips of paper or printed with metallic paints.

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("Origami Pleat," designer Reiko Sudo, pictured)



artbma.org
citypaper
 
This sounds like a fun experience to have in Beijing. If any tFSers attend and you are permitted to take photos, please post the fashion and architectural exhibits in particular. Thanks! :heart: Apparently, the show will tour to four cities, from Guangzhou, capital of Guangdong Province, to Shanghai and Beijing before coming to Chengdu, capital of Sichuan Province. The exhibition is currently at Beijing's SOHO-Shangdu Shopping Mall until Sept. 1.

Exhibitions aren't supposed to be like this.

At Get It Louder 2007 installations, photos and videos seem to be haphazardly strewn throughout an underground parking lot. People freely fondle the exhibits, and relax in couches and chairs set up in front of video installations. They leave carelessly scribbled scrawls and pictures on a large white desk, which is actually an exhibit.

On the first floor, several children are sitting by a table and playing with white toy bricks under the help of their parents and teachers. Around them are six glass boxes, each of which showcases an exquisite architectural models made from the same toy bricks by artists and architects from home and abroad. The display is also a part of the exhibition titled Building Asia Brick by Brick.

Orthodox critics would frown upon such an unconventional art show. It is staged in a shopping mall devoid of artistic air and displays exhibits that would be denied by many museums on the basis of not appealing to refined temperaments.

Most of the excited visitors are young people in their 20s. They examine every exhibit with great interest - something they would seldom see in museums.

Curator Ou Ning can hear the voice stirring up from within these youths. And he wants to "get it louder."

The biennial art event was first held in 2005. It tours four cities, traveling from Guangzhou, capital of Guangdong Province, to Shanghai and Beijing before coming to Chengdu, capital of Sichuan Province. The exhibition is now underway at Beijing's SOHO-Shangdu Shopping Mall until Sept. 1.

"China is, at present, a 'postfigurative' society in which the elder generation holds the power, while youngsters have little chance to express themselves. That is why we conceived Get It Louder. We simply want the voices of young artists and audiences to be heard," Ou says.

Ou's international curatorial team aims to establish a platform upon which young talents in the fields of art and design can showcase their creativity and advocate their personal thoughts.

This year's exhibition has attracted more than 150 artists from around the globe. Their designs fall into five categories - architecture, products, fashion, visual and film. Also on show is the UK chapter Everything Material, Something Immaterial, the Japanese chapter Quiet Radical Voice and a special project entitled Building Asia Brick by Brick.

Unlike its first run, which was restricted in art zones, Get It Louder 2007 takes place in shopping malls in all four of the cities it tours.

Shopping malls have thrived in China ever since the 1990s. The act of consumption in this space has become a familiar part of public life and has come to constitute a part of the collective memory.

Curators believe that the presence of a pioneering art show in such a large space dedicated to consumption breaks away from the conventional exhibition model. The idea is that hosting the exhibition in these venues creates contact between the works and a large population of sometimes unsuspecting visitors, many of whom seldom or never visit art exhibitions otherwise.

However, there are opposing views on the exhibition. Eva, who is in show business and prefers to remain anonymous, attended the first Get It Louder Beijing held in the Xingfucun Art Center. She says the exhibition this year failed to meet her expectations.

"The 2005 session brought me so many surprises. All of the exhibits were on display in a small space, and the exhibition hall was delicately designed," she says. "But the current setting in the underground parking lot looks really rough. The exhibits are distributed among four different floors that makes me feel uncomfortable.

"Maybe it is because I am an aesthete. The shopping mall is too bustling. I think the arts should still keep a distance from us."

Eva's opinion is shared by many art lovers and museum-goers, whom Ou credits for establishing the fixed models, which revolve around museums and biennials.

"As I have always believed, art is real life," Ou says. "We want to help people abandon the idea of art as a sanctuary. We hope people can discover art by accident as they consume and stroll. It is a more effective way to get art into people's hearts than rigid education." But engaging the art experience in an underground parking lot is acceptable and even cool for many first-time audiences. Zhang Weixin, a senior of art management of Beijing Normal University, had awaited the exhibition for two years. She was in Guangzhou in 2005, but missed both the debut show and the following one in Beijing.

"The exhibits are original and quite personal. Some reflect deep insights into society," she says as she shoots photos and scribbles notes.

Zhang Yan, the girl's mother and an avid museum-goer, says the exhibition is inspiring.

"I have just realized that art can be so interestingly weird. I see the sexual implications in some photos. It is OK with my daughter and me. I think it is a healthy form of art expression as well."

In addition to the main exhibition, a Moving Soundscape project and the flexible, guerrilla-like Homeshows also characterize the event this year and deserve special attention. A series of lectures, symposia and public forums will tackle the issues of national identity in terms of art and design, and social creativity. All exhibitions and activities are free of charge.

"Get It Louder is an enlightenment of imagination, and showcases a sense of humor and enthusiasm for life. We hope it will broaden the horizon of the younger generation and encourage them to create," says Shao Zhong, president of the Modern Media Group, which sponsors this year's exhibition.

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news. xinhuanet.com . published 24 August 2007
 
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Cat Chow "As I Lay Dying" Exhibition

September 6 - October 6, 2007. Opening reception: Thursday, September 6th 6-10pm. Closing reception: Saturday, October 6th 6-10pm
Elk Gallery, 33 Crosby Street, New York NY 10013
Gallery hours: Wednesday-Saturday 12-5pm or by appointment

In conjunction with Fashion Week, Elk Gallery and Blood are pleased to present As I Lay Dying, an exhibition of new work by New York artist and fashion designer Cat Chow, best known for her intricate craftsmanship that transforms everyday objects into garments and works of art that are elegantly simple in form, yet complex in construction.

Combining the materials of banal functionality and mystic symbolism, Chow’s recent work reflects on how the rituals of mourning have historically been (and still are) informed by fetishes for fashion and seductive materials. The resulting works are simultaneously enticing and repulsive, setting up a visceral tension between objects of desire and objects of disgust.

cat-chow.com :heart:
 
from Guardian

Iconic images from Vogue Italia feature in a new retrospective photographic exhibition. 50 Years of Italian Style will feature photographs spanning five decades of Vogue Italia, Casa Vogue and L’Uomo, with images by some of the world’s top photographers, including David Bailey, Patrick Demarchelier, Bruce Weber, Peter Lindbergh and Steven Meisel.

The exhibition, which is in association with Peroni Nastro Azzurro, will be On|Off at the Royal Academy of Arts, 6 Burlington Gardens, W1S 3EX.

The exhibition is open daily from 10am until 5pm from September 18 to 20. Tickets must be downloaded prior to entry from www.peroniitaly.com/vogueitalia

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Casa Vogue, December 2003
Photograph: Francesco Carrozzini/Vogue Italia
 
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Many workshops and lectures going on now... Focus on traditional and tradition-influenced craft
I might attend the lecture for Miao textiles ^_^ I went to the Shibori one last year

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Example Workshops
Example Lectures
Lectures (held at the Vancouver Museum: MacMillan Space Centre Auditorium)


maiwa.com
 
from WWD
Published: Wednesday, September 26, 2007
Chanel Exhibit Sets Up House in Russia

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By Peter Savodnik
MOSCOW — The much-anticipated "Chanel: According to the Laws of Art" exhibit opens here Thursday at the Pushkin State Museum of Fine Art, bringing together an estimated 400 artworks, photographs, dresses and other memorabilia from across the globe.

The exhibit — including paintings by Pablo Picasso and Andy Warhol, photographs by Man Ray and dresses, pieces of jewelry and images of Gabrielle "Coco" Chanel, Jackie Kennedy, Marlene Dietrich and others — seeks to educate Russian consumers about the brand and tap into the booming Russian market, Chanel global chief executive officer Maureen Chiquet said.

She declined to go into detail about the company's plans for the former Soviet Union, saying only: "Russia is a very important market. We're looking at all different opportunities throughout Russia and throughout Ukraine."

The exhibit on the museum's cavernous second floor is divided into five pavilions, fitting for the maker of Chanel No.5 perfume. Each pavilion has its own scent and its own theme — red, black, gold lamé, jersey and tweed — and is cordoned off from adjoining galleries by white walls stretching 15 feet or higher. The pavilions, festooned with Cubist art, priceless necklaces and color photographs of some of the world's most famous women donning Chanel dresses, contrast sharply with the museum's neoclassical interior, with its fluted columns and Corinthian capitals.

Other highlights include artworks by Thomas Gainsborough, John Constable and Jeff Koons; icons and a musical score care of Igor Stravinsky; 25 porcelain figurines by the Russian sculptor Grisha Bruskin; a huge, wide-angle photograph of the interior of the Paris Opera taken by Candida Höfer, and a giant canvas painted solid red with lipstick by Fabrice Hyber. Many of the pieces in the show were created long after Coco Chanel's death in 1971, but convey the timelessness of her designs, curator Jean-Louis Froment said.

The motif that brings together the whole exhibit is the specially installed beige carpet that ascends the grand staircase of the museum and snakes through the second-floor gallery. Chanel, in her early years, was referred to as the Queen of Beige, and her apartment and boutique on Rue Cambon in Paris were famous for having beige carpet."Russia is a very important market. We’re looking at all different opportunities throughout Russia and throughout Ukraine.**"— Maureen Chiquet, ChanelFroment said the exhibit aims to bring to life that artistic universe on Rue Cambon, a world defined by war, privation — and, later, rebirth — and teeming with painters, poets, playwrights, novelists and musicians who razed all the old assumptions about beauty, form and style.

While Chanel surrounded herself with brilliant musicians and writers, such as Stravinsky and Jean Cocteau, Froment said, she had few painters in her immediate circle. This emphasis on the musical and the literary lends an ethereal, almost intangible beauty to her designs, he said. "She created an entire language."

Russian officials were said to have raised some concerns about a French fashion company turning one of the country's leading museums into a set for a fashion show. But once Chanel officials convinced them that they sought to portray the world of Chanel not through fashion, but art, the Russians' worries were apparently assuaged.

Irina Antonova, the Pushkin Museum's director, said she had no worries about the show. "She's a style, not just a fashion, and therefore, really, an artist," Antonova said of Chanel.

The designer had numerous ties to the Russian émigré community in Paris following the 1917 Bolshevik Revolution. Among the most important romantic relationships in her 87 years, which included no marriage or children, was that with the Grand Duke Dmitri Pavlovich. Chanel officials said it was Pavlovich who introduced Chanel to the tsar's perfumer, Ernest Beaux, who concocted several scents for the budding fashion queen. The first four didn't quite live up to her exacting standards, but No.5 did.

Chanel officials would not say how much the company paid to put on the elaborate exhibit, which has drawn journalists from Europe and Asia and included a party at the French ambassador's residence late Tuesday.

The exhibit, which runs through Nov. 21, opens exactly one year after Chanel launched its 3,200-square-foot boutique on Stoleshnikov Pereulok, about a 10-minute walk from Red Square.
 
At the Asian Art Museum in San Francisco.

Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute. EXCLUSIVE U.S. VENUE October 12, 2007 –January 6, 2008, Hambrecht & Lee Galleries.

Japanese fashion: It’s more than meets the eye. From October 12, 2007, through January 6, 2008, the Asian Art Museum will present Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute, the first major exhibition to combine the collective talents of leading Japanese fashion designers with new work by Hiroshi Sugimoto, one of today’s most compelling artists. This special exhibition—conceived by Sugimoto—spotlights the extraordinary sculptural quality of contemporary Japanese fashion through 21 seminal masterworks by Issey Miyake, Rei Kawakubo, Yohji Yamamoto, Junya Watanabe, and Tao Kurihara. The presentation will also feature four new, large-scale photographs by Sugimoto—never-before-seen pieces from a forthcoming body of work—which capture the garments’ shadows, lines, and fullness of form, alongside the innovative creations that inspired them. The garments—borrowed from the Kyoto Costume Institute, one of the world’s leading repositories of haute couture—date from 1983 to 2007, and include a range of materials and methods from various seasons. Co-curated by Kyoto Costume Institute chief curator Akiko Fukai, Sugimoto, and the Asian Art Museum, Stylized Sculpture will be on view exclusively at the Asian Art Museum.

In conceiving of Stylized Sculpture, Sugimoto states that he “looks at the human body and the man-made skins that envelop it as contemporary sculpture. Issey Miyake, Rei Kawakubo, Yohji Yamamoto, and other Japanese designers have defiantly challenged the elegance of European mainstream fashion, vastly expanding the very concept of this artificial skin … and they have incarnated these creations with textures, colors, and shapes worthy of definition as sculpture.” In an effort to respect, and not distract from, the sculptural aesthetic of the garments on view, the Asian Art Museum’s installation will be sleek and minimal, with careful lighting to heighten the effect of the shadows, as in Sugimoto’s photographs. The garments will be presented on mannequins alongside the photographs, in galleries uncluttered by wall text or object labels. A complimentary brochure will provide didactic information about the exhibition, the garments and the designers, and will include further examples of Sugimoto’s new photography not included in the exhibition.

Japanese Fashion 1983–2007:
Issey Miyake, Rei Kawakubo, Yohji Yamamoto, Junya Watanabe, and Tao Kurihara

In the early 1980s, Japanese designers Issey Miyake, Rei Kawakubo, and Yohji Yamamoto took Paris by storm with avant-garde styles that overturned traditional Western conceptions of chic. Informed in part, perhaps, by traditional forms of Japanese clothing such as the kimono, the designers produced radical garments with shapes and textures that didn’t necessarily respond to the contours of the human body. Though they work independently, Miyake, Kawakubo, and Yamamoto share an interest in integrating Japanese tradition and tailoring with contemporary ideologies and technologies, resulting in exaggerated, voluminous pieces made out of unexpected materials. The creations on view in Stylized Sculpture will reflect the broad aesthetic of Japanese fashion over the past twenty years, as well as pinpoint the features for which each designer is best known.

Issey Miyake, born in Hiroshima in 1938, founded Miyake Design Studio in 1970 after early couture training in Paris and New York. By the end of the 1980s, in his effort to increase mobility of the wearer, flexibility of fabric, and ease of production, Miyake had begun to develop an innovative technique he entitled “Garment Pleating,” which ultimately evolved into his iconic 1993 “Pleats Please” line. Miyake’s pleated garments, lying flat and folded like origami, expand dramatically when put on a body. Since turning over the design of his signature label to his understudy in the late 1990s, Miyake now focuses on special projects. One of the most important of these projects has been the “A-POC” collection (the acronym refers to “A Piece of Cloth,” a concept Miyake conceived early in his career), developed together with textile engineer Dai Fujiwara in 1999. A-POC garments come off the loom as single flat tubes of fabric that can be transformed into clothing by cutting along faint outlines on the cloth—requiring no sewing. Along with three key examples of Miyake’s earlier work, the exhibition will feature an A-POC garment that alternately covers the human body and serves as “upholstery” for an Italian chair by renowned product designer Ron Arad.

Rei Kawakubo, born in Tokyo in 1942, is the head and sole owner of Comme des Garçons, the fashion house she founded in 1973. Comme des Garçons gained international recognition in the early 1980s for its achromatic palette, asymmetry, and deconstructed, frayed edges. The exhibition will feature six original Kawakubo designs, including signature distressed looks from her early career, as well as more playful examples from the 1990s, such as a baby pink sweater and skirt ensemble with pronounced bustle and petticoat from the 1995 “Sweeter Than Sweet” line and a stretch nylon dress with a huge Quasimodo-like protuberance, which radically distorts the female figure, from the famed Spring/Summer 1997 collection, popularily known as “lumps and bumps.”

Yohji Yamamoto, born in Tokyo in 1943, launched his own collection in 1977 and debuted in Paris in 1981. While throughout his career Yamamoto has exhibited a great amount of loyalty to the fabric and structured planes of traditional Japanese clothing, the kimono in particular, in the past decade he has moved to incorporate more aspects of traditional Western tailoring. Stylized Sculpture will present four original Yamototo designs, including a highly formal, wool felt dress from the 1996 Autumn/Winter collection that recalls in its refinement the work of the great post-World War II couturier Christobal Balenciaga; at the same time it evokes the appeal of the Japanese kimono with its sculptural back. Stylized Sculpture will also feature a Yamamoto creation from 1998 that demonstrates the designer’s method of twisting and wrapping the fabric around the body, in a way sculpting the shape of the female figure without extensive cutting of the cloth—another characteristic of traditional Japanese clothing.

While Miyake, Kawakubo, and Yamamoto continue to design, they also mentor younger designers, and ensure the future of their respective fashion houses, through an age-old, and uniquely Japanese, apprenticeship system. The presentation will contain five pieces by Junya Watanabe, who, under Kawakubo’s tutelage, has come to design under his own name at Comme des Garçons. Born in Fukushima in 1961, Watanabe is often referred to as a “techno couture” designer, utilizing industrial or technologically advanced materials in his creations. An ensemble from Watanabe’s 1998 line, which incorporates wire and wool serge to create a capacious structure around the waist of the wearer, will be on view. Also included in the exhibition is a striking new 2007 work by Watanabe’s 33-year-old protégé Tao Kurihara. Considered one of the hottest new talents on the Paris runway circuit, Kurihara now designs under her own name for Comme des Garçons.

About the Kyoto Costume Institute

Founded in 1978, the Kyoto Costume Institute (KCI) is one of the world’s leading repositories of historical costumes and contemporary fashion with a collection of more than eleven thousand original works. Under the leadership of Chief Curator Akiko Fukai, who has been with the Institute since its inception, KCI has organized numerous critically acclaimed fashion exhibitions in Japan and throughout the world, including Ancien Regime and Japonism in Fashion, and generated important publications such as Fashion: A History from the Eighteenth to the Twentieth Century; Collection of the Kyoto Costume Institute (Taschen, 2002). In recent years, the Institute has placed greater emphasis on Japanese contemporary fashion and its position within the global context.

About Hiroshi Sugimoto

Born in Tokyo in 1948, Hiroshi Sugimoto, best known for his photographic series of ethereal seascapes, dioramas, empty movie theaters and wax museums, has recently turned his attention to contemporary Japanese fashion, with a stunning new series of black-and-white photographs that highlight the sculptural, almost architectural, formations from Japan’s fashion pioneers.

Hiroshi Sugimoto: History of History

Sugimoto is also the subject, and curator, of the critically touted Hiroshi Sugimoto: History of History, which will be on view at the Asian Art Museum—in the final stop of an international tour—concurrently with Stylized Sculpture. History of History juxtaposes Sugimoto's exquisitely minimalist photographs with fossils, artworks and religious artifacts ranging from prehistoric to the fifteenth century, all drawn from his own collection. The result is an extended exploration of time, life, and spirituality as perceived in the contexts of nature and history.

asianart.org
 
easier.com

Matthew Williamson – 10 Years In Fashion

Matthew Williamson is a unique success story within the British fashion industry. Setting out on his career as a fashion graduate with no financial backing in 1997, he now has his own store in the heart of Mayfair, and his acclaimed collections are worn by international celebrity clients.

2007 marks ten years of Matthew Williamson’s career in fashion, and to celebrate the Design Museum will hold a retrospective of his work from 17 October to 31 January 2008.

Matthew Williamson – 10 Years in Fashion will focus on the process and use of pattern, print and colour which have defined Williamson’s work. Centralised around 4 main themes: Colour and Psychedelia; Hyper-nature; Global extravaganza; and Lifestyle, the exhibition will feature iconic pieces from the past decade, including dresses made famous on the red carpet by Sienna Miller, Jade Jagger, Nicole Kidman and Kylie Minogue.

A specially commissioned film will offer a behind-the-scenes look at the energy and vision that goes into launching a new collection. Williamson’s sketchbooks will also be on display, providing an unparalleled insight into the way he has worked since his days as a fashion student, from an initial inspiration of a pattern, texture or colour, to the finished product worn on the catwalk.

Born in Chorlton, Manchester, Williamson grew up there until the age of 17, when he moved to London to study at Central St Martins. In the summer of 1997, a phone call to British Vogue led to meeting Plum Sykes, then fashion assistant at the magazine. Encouraged by her reaction to his ideas, Williamson created a women's wear collection which resulted in a September fashion show Electric Angels during London Fashion Week, in which Jade Jagger, Helena Christensen and Kate Moss agreed to model. The show was an immediate success.

Over the past 10 years Williamson's collections have continued to grow cementing his reputation as one of the UK's leading designers. He won Elle Designer of the Year 2004, has been nominated three times for British Designer of the Year, and in 2005 was awarded the prestigious Moet and Chandon Fashion Award. In 2005 Williamson became Creative Director at Emilio Pucci.

The Design Museum exhibition, sponsored by Coutts, will tour in spring 2008 to Urbis in Manchester.

Design Museum, Shad Thames, London SE1 2YD
Tickets: Adults £7; Students + Concessions £4; Free To Under 12s
Opening: 10.00-17.45 Daily. Last Admission: 17.15
 
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"Myths" by Heimo Schmidt, proudly presented by Point of View Gallery.


mail





In his first solo exhibition entitled "Myths", Heimo Schmidt presents a minimal and contemporary vision of postmodern photography. Embodied with a detailed fashion sensibility, his iconic compositions of Icelandic landscapes and portraits are captured with haunting realism. Through his camera lens, Heimo captures an almost monochromatic austerity and infuses his own colorful creativity, enhancing the visual drama of the already powerful composition.



For more information, please contact Point of View Gallery at 212-967-3936.


Point of View Gallery
638 West 28th Street New York, NY 10001
Tel : 212 967 3936 / Fax : 212 967 3935 / Cell : 646 240 7999
www.pointofviewartgallery.com
[email protected]
Gallery Hours: Tuesday - Saturday 10AM-6PM

show opens 10-18-07

* i went to this...
it was really nice...
there is also a short film...
all clothing used on the models is also by icelandic designers...
click the above link for more images...

:flower:
 
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^^shoot!
i don't think I'll be able to make it to New York before the 15th when it ends :doh:

i love the feeling of the photos :heart:
 
theme: Christian Lacroix 'Histoires De Mode' - Exhibition (to mark Lacroix's 20 years in fashion)
date: from 8 Nov '07 to 20 APRIL '08
venue: Musee de la Mode et du Textile in Paris

you can preview his magnificent dresses from here
 
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The Artist's Fall Collection...from the New York Times by Ruth La Ferla
the whole article can be found here...
Exhibit A: Mr. Murakami. Before he teamed up with Vuitton five years ago, he was known primarily to art aficionados. That collaboration was a marketing tour de force so spectacular that it created a waiting list in the thousands for the artist-bags. Indeed, a case could be made that it turned Mr. Murakami into a celebrity viewed by his fans as the pudgy, goateed Heath Ledger of the art world.
So where’s the rub? Mr. Murakami made his name, after all, by taking the culture of branding as his primary subject. Tellingly, his show is titled “© Murakami.”
And yet the installation — a shop that lines the pockets of the artist and his corporate partner — would appear to compromise the authority and curatorial role of the Museum of Contemporary Art. Not so says Paul Schimmel, the museum’s chief curator. He pointed out that the museum receives no rental fees or profits from the store. To do so would place its nonprofit status at risk.
Vuitton did not pay for the show; however, it did underwrite a splashy opening-night party that attracted celebrities like Cindy Crawford, Naomi Campbell and Pharrell Williams.
Mr. Schimmel further maintained that the boutique is integral to the artist’s message. “One of the most radical aspects of Murakami’s work is his willingness both to embrace and exploit the idea of his brand, to mingle his identity with a corporate identity and play with that,” he said. “He realized from the beginning that if you don’t address the commercial aspect of the work, it’s somehow like the elephant in the room.”
 
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there is an article in the NYT today by Guy Trebay about the line between fine and commercial art embodied by fashion photographers.

here are two excerpts, but its worth reading the whole story here

And this week, fashion photography makes its debut at Art Basel Miami Beach, the annual trade fair that is to the art world what the Coachella festival in Southern California is to indie rock. In Fashion ’07, an assembly of 20 contemporary photographers brought together by Marion de Beaupre, a curator and author, opened Dec. 2 at the Surfcomber Hotel. Part survey and part marketing trial balloon, the show also tests the premise that the traditional borders between fine and commercial art are now permeable.
Whether or not by intention, he is helping propel fashion photographs in the direction of art and in the process creating an alluring hybrid, one that sometimes supports an aesthetics of glamour and just as often parodies it. “Fashion photography now is not about fashion alone,” Ms. de Beaupre said. “The material is of interest now because there is this strong creative and personal language,” Ms. de Beaupre said, “that belongs very much to our times.”
 
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