Tag: alison moloney

Motive / Motif: Artists commemorate the Suffragettes

“.. the whole difference is the difference of motive …. & I contend that if you recognise the motive you should also recognise the provocation.” 
Suffragette, Frances Parker (1875-1924)
To mark the 100th anniversary of the passing of the 1918 Representation of the People Act twenty renowned and emerging artists were invited to each create an image which was embroidered onto a handkerchief, by London College of Fashion’s specialist embroidery technicians, to mark women’s suffrage.

Embroidered handkerchief with gold and mauve embroidered words in a repeating pattern "Women inspiring women". Photo: Peter Abrahams

Mona Hatoum embroidered handkerchief. Photo: Peter Abrahams

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Footnotes – Sutton House, 9 May 2018

The installation of Footnotes, an exhibition of artist responses to the LCF’s historic shoe archive, took place last week for the exhibition at the National Trust’s Sutton House in Hackney. Shoes from LCF’s diverse collection which includes 1930s orthopaedic footwear, silk slippers from the 1800s and even a shoe made for a sheep, are for the first time on display with Artists Eelko Moorer, Ellen Sampson, Linda Brothwell and Laila Diallo all producing new works inspired by the shoes’ remarkable histories.  New interpretations are revealed in five categories: Scale, Balance, Fragility, Singled Out and Common/Uncommon that employ film, dance and virtual reality in their telling.  The exhibition, which was funded by the Arts Council and supported by Kurt Geiger, is accompanied by a programme of talks and performances running 9 May – summer 2018.

CfFC’s Alison Moloney, curator of the exhibition and research fellow at LCF said:

London College of Fashion’s shoe archive has been compiled to inspire and instruct students in the making and designing of shoes. As objects, the shoes have so many interpretive possibilities for artists because the provenance of each one is unknown. Sutton House provides the perfect backdrop to Footnotes because of its own extensive history. Through this exhibition and accompanying programme of workshops and talks, we want to immerse people in the history of the everyday and in shoes as ways to reanimate the past and access personal and shared cultural memories among the audience.


Footnotes  9 May – Summer 2018.

Breaking the Mould, Fashion Curation for New Style Re-Publics

Alison Moloney, International Exhibitions Curator in CfFC at London College of Fashion,  has  been awarded a British Council Art Connects Us grant to travel to Cape Town and Johannesburg to develop a research programme and to explore possible exhibition opportunities and collaborations with CfFC.  Alison is organising at talk at Gallery MOMO,  an experimental art gallery which has displayed some of the South Africa’s most interesting fashion designers/artists on Saturday 3rd March in collaboration with Erica de Greef,  a fashion theorist, curator and lecturer at the University of Cape Town, and the gallery director. Gallery MOMO and involving some key industry players,  There will be a panel discussion around approaches to fashion curation with a chance to see the 1914 Now series of films, commissioned by Alison.  Alison will also be meeting designers and artists while she’s there for possible collaboration with LCF.   See below for the venue’s press release.


Cabinet Stories opens to the public

The Cabinet Stories project launched in early 2016 exploring fashion from different curatorial perspectives in the traditional museum setting of a cabinet.  The project, which is a collaboration between the Centre for Fashion Curation and the Social Responsibility team at LCF, visited communities that may experience disadvantage and has been displayed in a women’s prison, a mental health centre for people with borderline personality disorder, and an older people’s home. As it opens to the public this week in Poplar,  Curator Alison Moloney reflects on the project.

Cabinet Stories

Cabinet Stories, Photo by Hanna Puskarz

“I don’t have a gallery space so projects such as Cabinet Stories, which tour to the audience, are instinctive. My work also has a strong emphasis on widening participation and I explore different media outcomes – for example film with my project 1914 Now – to reach these audiences.

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