V. Steele, Museum Quality, Fashion Theory, 12.1
V. Steele, Museum Quality, Fashion Theory, 12.1
V. Steele, Museum Quality, Fashion Theory, 12.1
Valerie Steele
To cite this article: Valerie Steele (2008) Museum Quality: The Rise of the Fashion Exhibition,
Fashion Theory, 12:1, 7-30, DOI: 10.2752/175174108X268127
Download by: [Universita IUAV Venezia] Date: 21 May 2017, At: 07:35
Vogues New World: American Fashionability and the Politics of Style 7
Museum Quality:
The Rise of the
Valerie Steele Fashion Exhibition
Valerie Steele (Ph.D., Yale Abstract
University) is Director and Chief
Curator of The Museum at the
Fashion Institute of Technology This article surveys the history of museum fashion exhibitions, and
(FIT). She has curated more explores some of the reasons why they have so often been controversial.
than 20 exhibitions in the past
Issues such as corporate sponsorship, curatorial independence, and his-
ten years, and is also the author
of numerous books, including torical accuracy are analyzed in connection with a range of exhibitions.
The Black Dress (HarperCollins, In particular, the article considers the inuence of Diana Vreelands
2007), Ralph Rucci (Yale
exhibitions at the Costume Institute and the issues that are raised when
University Press, 2006) and The
Corset: A Cultural History (Yale an exhibition is devoted to a single famous designer, such as Armani,
University Press, 2001). Versace, or Vivienne Westwood.
the exhibition would leave its mark on next falls fashions. But why
should it be a bad thing if fashion designers are inspired by museum
exhibitions?
Despite their manifold faults, Vreelands exhibitions succeeded in
abolishing the aura of antiquarianism that had previously surrounded
most costume displays. As Anne Hollander immediately realized,
Vreelands presentations were show business, designed to do away with
any waxwork-museum look of corpses under glass. Wired for sound
. . . these rooms . . . resemble a stage set through which the audience
may freely move (Dwight 2002: 220). Vreeland was instrumental in
introducing valuable innovations, such as stylized mannequins, and she
attracted a much wider audience. Nor was she acting in a vacuum: The
Victoria and Albert Museum also entered a new era in 1971 with Cecil
Beatons glamorous exhibition, Fashion: An Anthology, for which he
aggressively solicited donations of recent couture dresses from his wide
circle of fashionable friends.
The real crisis came in 1983, when Mrs Vreelands retrospective of
Yves Saint Laurent became the rst major museum show devoted to
a living designer. It caused tremendous controversy, because it was so
closely tied to the economic interests of that particular designer. As a
critic for Art in America put it, Fusing the Yin and Yang of vanity
and cupidty, the Yves Saint Laurent show was the equivalent of turning
gallery space over to General Motors for a display of Cadillacs (Storr
1987: 19). Shortly thereafter, the Metropolitan Museum of Art ceased
to mount exhibitions devoted to a single living designer. But many
other museumsand other designersnoticed and imitated the new
paradigm.
By giving Saint Laurent the rst museum show of a living designer,
[Vreeland] raised the aspirations of fellow couturiers, who now often
stage self-curated (and self-vaunting) shows, observed Suzy Menkes,
adding: It is hard for museums to keep up custodial standards while
competing with the entertainment business (Menkes 1997). While this
is certainly true, an outright moratorium on all exhibitions devoted to
a single living designer would seem to be a draconian solution. The
commercialization of designer fashion exhibitions and the resulting
public criticism are problems that need to be addressednot avoided.
Nor should Vreelands emphasis on fashionable spectacle simply
be dismissed, for it potentially plays a crucial role in conveying the
experience of fashion.
As Mrs Vreeland wound down her tenure at the Costume Institute,
Richard Martin and Harold Koda began organizing exhibitions at what
was then the Design Laboratory of the Fashion Institute of Technology.
Even more than Mrs Vreeland, they focused on modern fashion, as
opposed to the traditional curatorial interest in historic dress. Probably
their most famous exhibition was Fashion and Surrealism (1987; Figure
1); other important exhibitions included retrospectives of Versace and
Museum Quality: The Rise of the Fashion Exhibition 13
Figure 1
Installation view from Fashion
and Surrealism. Courtesy of
the Museum at FIT, New York.
Photograph by Irving Solero.
Koda emphasized that he does not entirely agree with this approach,
he defended it as one way of getting the public to become enthralled
and relate to a world that was, and that is, at a remove from their own
experience. This is certainly an important point, and goes to the heart
of Vreelands inuence in abolishing the aura of antiquarianism that can
so easily surround historical dress. Koda admitted that the audience
then took what she presented really literally, and he implied that
some of Vreelands misleading exaggerations could, perhaps, have been
compensated for with didactic material; but he also argued passionately
that she was ahead of her time in as much as todays museum visitors,
he believes, need much less explication.
Describing certain fanciful aspects of Andrew Boltons exhibition
Anglomania, for example, Koda said,
Figure 2
Installation view from Hussein
Chalayan, Groninger Museum.
Photograph by Marten de
Leeuw.
Issues of Interpretation
Figure 3
East faade with Schiaparelli
FASHION banners, Philadelphia
Museum of Art: Kelly and
Massa Photography, 2003.
Figure 4
Installation view from London
Fashion. Courtesy of the
Museum at FIT, New York.
Photograph by Irving Solero.
24 Valerie Steele
Figure 5
Installation view from China
Chic East Meets West.
Courtesy of the Museum at FIT,
New York. Photograph by Irving
Solero.
museum visitors could see how this corset gave its working-class wearer
the same silhouette as the fashionable lady. They learned that, contrary
to Thorstein Veblen, corsets were not only worn by ladies of leisure.
After surveying the history of corsetry, the exhibition then showed how
a range of contemporary designers have utilized corsetry in their work
for very different effectsranging from the romantic historicism of
Christian Lacroixs couture wedding dress to Thierry Muglers leather
dominatrix corset and John Gallianos African-inspired beaded corset
for Christian Dior couture.
Some of the same objects were featured in Extreme Beauty (2001),
Kodas rst solo exhibition at the Costume Institute, which also explored
the relationship between body and clothes. In addition to featuring a
range of corset-related material, he expanded his research to incorporate
other parts of the body beyond the waist and torsosuch as the neck,
the shoulders, and the feet. I think that it is fair to say that Koda focused
on the visual or aesthetic aspects of his subject, with a strong component
of shock value. By contrast, I emphasized the changing (and contested)
meanings of the corset in society. It seems to me that our exhibitions thus
expressed, respectively, a more traditional formalist approach, albeit
one infused with a very contemporary focus on body modication, and
one that drew much more heavily on methods and ideas associated with
the new art and fashion history. A purely formalist approach seems
problematic to me, because similarities in form can mask signicant
differences in meaning.
Akiko Fukai, Chief Curator at the Kyoto Costume Institute, explored
related ideas in her exhibition, Fashion, Invisible Corset. Although I
was unable to travel to Japan to see the exhibition, there is an excellent
catalog, which makes it clear that Fukai was interested in themes such
as the silhouette created by fashion, the role of fashion as a second skin,
and the connections between fashion and modern art. The differences
between our various exhibitions indicate how developments within the
disciplines of art history, fashion studies, and museology all have an
impact on the study, interpretation, and display of clothing artifacts
within the museum.
At least some fashion exhibitions have also become more conceptual,
and more daring in terms of exhibition design. Independent curator
Judith Clark has said that her goal is to highlight the relevance of
historical dress to contemporary projects through themed shows.
Clark, whose eponymous gallery in London was the site of numerous
small, but fascinating exhibitions, organized a truly extraordinary
exhibition Malign Muses at the Mode Museum in Antwerp. The
exhibition subsequently traveled to the Victoria and Albert Museum,
where it went under the title Spectres: When Fashion Turns Back (Figure
6). In both venues, the exhibition included about eighty garments,
both contemporary and historic, that were juxtaposed to show how
designers have inuenced each other across history. As the reviewer
Museum Quality: The Rise of the Fashion Exhibition 27
Figure 6
Installation view from Malign
Muses: When Fashion Turns
Back, MoMu, Fashion Museum
Antwerp, 2004. Photograph by
Ronald Stoops.
for The Independent noted, it was far removed from the conventional
fashion exhibition, which trades on glamorous celebrity connections.
Rather, it traced the development of ideas, and its title refers to the
ghostly shadows that history casts over the present (Rushton 2005).
Although informed by an explicitly academic set of ideas about
fashion history (Clark drew on ideas that Caroline Evans explored
in her justly acclaimed book Fashion at the Edge), the exhibition was
denitely not a book on the wall. An architect by training, Clark
28 Valerie Steele
Figure 7
Installation view from Visions
of the Body, Tokyo, The Kyoto
Costume Institute. Photograph
by Naoya Hatakeyama.
Museum Quality: The Rise of the Fashion Exhibition 29
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