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Fashion and Folly, or Strawberry Hill in Satire Dress’d

To celebrate the completion of her practice-based PhD in fashion curation Dr. Jenna Rossi-Camus will present a performance lecture that shares her proposal for a site-responsive exhibition at Horace Walpole’s Strawberry Hill House.

Jenna Rossi Camus crouching on floor in front of gothic window with large pieces of paper with illustrations relating to PhD lecture laid out

Jenna Rossi Camus at Strawberry Hill House.

The proposal, comprised of an extra-illustrated book and letter to Horace Walpole himself will be presented through word and image and the unique hand-made book will be available for guests to view. The lecture will conclude with an insight into the timeline of the research process, showing how the work has been both rigorous and innovative while presenting one of the project’s methodological documents.

3 July 2019, 6.30pm – 8pm. The lecture will be followed by a glass of wine.

For more information and to book visit our LCF events page.

Read about Jenna’s research.

Read more posts by Dr Jenna Rossi Camus.

 

Objects Unwrapped, Memory of Clothes, Worthing Museum

Objects Unwrapped: Memory of Clothes

Worthing Museum, Saturday 1 June, 1.30-4pm, Free

This Study Day brings together students and staff from the University of Brighton’s Objects Unwrapped research group to reflect on the way that clothes have been used privately and publicly as a means to remember and to forget, to memorialise and to mythologise, to reconstruct histories and to create new imaginative forms.
All welcome – booking essential!
Free event at Worthing Museum and Art Gallery supported by the Centre for Design History, University of Brighton.
Booking and enquiries: 01903 221448 / www.worthingmuseum.co.uk

Poster advertising Objects Unwrapped workshop at Worthing Art Gallery

For more information about the project visit https://blogs.brighton.ac.uk/objectsunwrapped/events/

Twitter:  @UnwrapObjects 
Instagram: @UnwrapObjects

For CfFC events click on our Events link on our homepage

Stephen Jones Hats at the Royal Pavilion

The exhibition Stephen Jones Hats at the Royal Pavilion, which is in partnership with the department store Harvey Nichols, opened in February 2019 showcasing over 170 examples of Stephen’s work as well as outfits from Stephen’s collaborators Dior, Giles Deacon and Thom Browne across 15 rooms of the former royal palace in Brighton.  The exhibition, which runs until 9 June was co-curated by Jones and Brighton Museum’s Curator of Fashion, CfFC associate member Martin Pel.

Photos by Tessa Hallmann

Words by Martin Pel

A selection of hats mounted on poles surrounded by plates of food shown on the pine table of the historic kitchen in the Pavilion

Stephen Jones hats are here displayed in the Great Kitchen where nearly 50 of his creations are displayed. They include a hat for Matty Bovan S/S 2019, French Onion Soup made for Stephen’s A/W 1985 collection, and Breakfast Stephen’s S/S 2005.

As you might imagine, staging the show brought myriad issues as the Royal Pavilion is not a museum but an historic house filled with loans from the Royal Collection. One of the first issues to overcome was keeping fellow staff members on board; everyone was enthusiastic about the idea of the show but ‘interventions’ in the pavilion are not always met favourably. The interiors are as close to how the former owner, King George IV, would have remembered them with original decorative schemes, furniture and art objects all from the 1820s. When George built the pavilion and furnished its interiors he employed only the best craftsmen, architect (John Nash) and interior decorators. The addition of objects from the 21st century not only influences the way we interpret the original objects but has the potential of making the ‘new additions’ look inferior, if they do not meet the standards set by George’s original scheme. I am pleased to say that as a master craftsman himself Stephen’s work perfectly complemented the interiors and brought new life to the rooms in which they are placed, a sentiment echoed by David Beevers, the keeper of the Royal Pavilion and its collections.

Spanish Catholic crown mounted above golden wreath of leaves

Dior Crown – Spanish Catholic crown shown in the King’s Apartments, made for Dior A/W 2005

Objects are not allowed to touch any royal loan and in the Banqueting Room in which we imagined a dinner party thrown by Stephen with ‘guests’ seated around the table, stands were constructed by the mount maker Mike Penwolf so the guests hats hovered over chair as though in situ. The major issue with this display (and any other) is one of conservation. The banqueting table is laid with an almost priceless dinner service by Cole Port and the hovering hats had to be properly secured to their stands so there was no possibility that one moved and damaged any other object. Hugely heavy base plates were created with the stands screwed in place from which they could not move.

White stylised mannequin head and neck with headdress to resemble a splash of water

Wash ‘n’ Go, S/S 1993, made out of perspex and shown in the Great Kitchen

Each of the 170 hats not only had a bespoke stand by Mike Penwolf but Zenzie Tinker, the textile conservator, handmade internal mounts so each hat sat at the correct angle as though on the wearer’s head. The stands and internal mounts not only took considerable time to create but considerable cost, at over £40,000! The stands were made with longevity in mind as exhibitions can be heavy on resources so each stand can be disassembled and used for future shows in the pavilion or museum.

Mannequin in off white ballgown with twigged headdress reclining on a staircase.

Giles White with full outfit and headdress from his A/W 2012 collection

The Royal Pavilion is a living building in that events are held in many of the rooms over the year. For the Music Room which displays four Dior outfits wearing Stephen’s hats and two 3-D printed busts – one of Stephen and one of King George also wearing hats – the positioning of the objects was subject to events which regularly take place there. The only place where they would not intrude on events was either side of the fireplace. The Great Kitchen, which has nearly 50 of Stephen’s hats, is also used regularly for events and the only way to facilitate both the show and the events is for me to move the hats out of the way whilst the event takes place and replace them afterwards – a pain but the only solution.

White stylised mannequin head with elongated neck wearing gold feather headdress covered in red lillies.

Gold feather hat worn by Kylie Minogue for Mardi Gras in Sydney in 2014 and shown in the Banqueting Room

The show was held in late winter and spring as these are our least busy periods. The show was a vehicle to bring in new visitors as well as new demographics (those interested in fashion) which it succeeded in doing, but it was also scheduled then to avoid bottle necks. Labels were kept to the barest minimum so visitors would not stop and read and clogg up the narrow walkways. We are all familiar with the frustration of visiting busy shows and not seeing anything so again the scheduling gave greater visitor satisfaction.

These are perhaps some of the most salient issues in staging the show and there were plenty of other problems to overcome (storage of boxes while the show is on, the lack of additional lighting, last minute mannequin sourcing) the show succeeded in its aims in bringing new audiences by re-interpreting the stories of the Royal Pavilion.

Four mannequins standing or lying down on stairwell wearing headresses made of spanners, paperclips, porcupine and feather

Four hats Stephen made for Giles’ runway shows; the spanner and paperclip hat are from pre-fall 2010 show and the porcupine and feather headdresses are from A/W 2012.

3-D printed bust in gold colour of Stephen Jones with dragon headdress

The dragon hat was made by Stephen for the Metropolitan Museum of Art’s show China; Through the Looking Glass (2015) which he based on the Royal Pavilion and it’s shown on a 3-D printed bust of Stephen especially created for this show.

Read more about the exhibition

Royal Pavilion, 4/5 Pavilion Buildings, Brighton BN1 1EE

Until 9 June 2019

Find out about CfFC’s collaborations with Brighton Museum

 

Requiem: Material/Memory

Torn. Moth-eaten. Tarnished. Degraded. Discarded. From the infinite potential of a pair of unworn shoes to a tweed jacket crumbling from years of use, our clothing resonates with memories of our lives. Displaying garments from The Contemporary Wardrobe Collection spanning the last two centuries, Requiem: Material/Memory explores the intimacies and contradictions of memory as embedded in fabric.

Close up of brown woollen clothing unravelling

Requiem: Material/Memory

Presented by curator and archivist, MA Fashion Curation alumni Cyana Madsen with support from The Horse Hospital, Requiem: Material/Memory features works by artist and material culture researcher Ellen Sampson and sound designer and composer Jonah Falco.

The exhibition is at Horse Hospital, Colonnade, Bloomsbury London, WC1N 1JD

Saturday 4 May – Saturday 25 May

Read more about the MA Fashion Curation course

Read more posts from MA Fashion Curation students and alumni

Curating Confetti – Jennifer Rice

The City Reliquary Museum is a non-profit community museum that tells the history of NYC and its inhabitants through their permanent collection of small objects and ephemera as well as a community collections cabinet in which selected individuals have the opportunity to curate a small exhibition on objects they collect. Past exhibits have varied from an assortment of rock collections, ceramic unicorns, and bones to representations of the Virgin Mary, Coca-Cola products, and vintage roller skates. As a volunteer, I had the chance to be a cabinet curator, choosing a  collection inspired by an article about the re-opening of NYC’s Rainbow Room in 2014.  During a renovation of the iconic rotating dance floor, confetti from the 1940s was reportedly found.  Since reading that article, my collection now includes turn of the century illustrations and postcards of confetti and vintage confetti & confetti branded items from the 1920s to the 1990s.

Shop Front of City Reliquary Museum

The City Reliquary Museum

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In Conversation with Lucia Cuba

Coinciding with the Mundo Latinx (Latinx World) exhibition at Fashion Space Gallery, join us on the 30 April for a conversation with fashion designer, artist and social researcher, Lucia Cuba to explore her practice and use of garments as performative and political devices.

Latin America, 4 girls with long dark hair in plaits stand or crouch by a pavement. The hair completely covers their faces.

Lucia Cuba, La Espera/ The Waiting, from the series ‘Articulo 6’, 2013, Courtesy of the artist. Photography: Erasmo Wong Production & Art Direction: Lucia Cuba Performers: Jessica Rojas, Flor Vergara, Nataly Zúniga, Pilar Trujillo

The discussion will also examine counter-narratives within fashion and textiles and Lucia’s continuous questioning of the established language of fashion through projects such as Articulo 6, Exercises on Health (EOH) and other exercises.

 Mundo Latinx is at Fashion Space Gallery until 4 May 2019.
Visit the LCF events page for more CfFC events

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