Diese Website verwendet Cookies, um sicherzustellen, dass Sie die besten Erfahrungen auf unserer Website erhalten. Durch Anklicken oder Navigieren der Website stimmen Sie zu, dass wir unsere Sammlung von Informationen über Cookies zulassen. Mehr Info
EuropeanaFashion Explore fashion - historical clothing and accessories, contemporary designs, catwalk photographs, drawings, sketches, plates, catalogues and videos - from museums and archives across Europe.
Europeana Fashion - launched with a new look in May 2017 - brings together the digitised collections of more than 30 European public and private institutions.
Melden Sie sich für den Europeana Fashion Newsletter an
Exhibition Archaeology: NEO at Centraal Museum Each time artists and designer feature, in their practice, elements of existing styles of the past, be it distant or more vivid, it is possible to talk about 'Neo.' Neo, in this sense, is a reinterpretation of the past, re-read with the eyes of the contemporary. In 2003, the continuing re-use of past styles in art, fashion, music and design inspired some reflections that led into the exhibition 'NEO', showcased at the Central Museum in Utrecht. Neo, view of the exhibition, Courtesy Centraal Museum, All Rigths Reserved The exhibition NEO was displayed the Central Museum from the 27th of September 2003 to the 1st of April 2004. The exhibition showcased examples of what were considered the ‘new styles’ in the last 250 years. After the excavation of Pompeii and Herculaneum in the eighteenth century, in all aspects of culture, from visual arts to design, pop culture and music, it is possible to retrace the references in the reuse of classical style elements. In an ever faster way, artists, architects and designers used style features from Renaissance, Baroque, Rococo and Exotic cultures. NEO articulated the meaning of the notion "neo" in the broadest sense. Curator Frans Haks, then the director of the Groninger Museum, showed that neo consisted not only of the "famous” neo-styles such as neoclassicism or neogotics; nature can also function as a neo subject, just as exoticism can be a neo style. NEO not only included neo-styles in visual arts or crafts, but also in architecture and film. In the nine rooms that composed the exhibition path, aspects of various neo-styles were thoroughly explored. The exhibition represented a journey amongst the most varied facets of the neo-culture from 1750 to the present. Neo, view of the exhibition, courtesy Centraal Museum, All Rigths Reserved Neo means something new, but neo stands also for the imitation of existing styles. The exhibition presented many famous artworks made by copying, enlarging, reducing and perfecting. In 1769, English ceramist Josiah Wedgwood saw a gap in the market and asked for a patent on 'encaustic collection', a method of perfect imitating red-headed Etruscan vases. He also developed 'biscuit' as a light and cheap substitute for marble, and 'basalt ware' for bronze. This led to a wide range of imitations of precious originals in cheap contemporary materials. And that happens until today. A good example of this is what Italian designer Alessandro Mendini did in 1978, when he developed some chairs looking at existing models of world-famous designers such as Gerrit Rietveld. Another section focussed on the way Neo is also about giving new features to existing designs. For example, an image of the Italian artist Canova can be transformed into a flower basket and a Greek column will form a knife handle. A highlight of the exhibition was the room in which a large number of table pieces were presented in different 'neostiles' like classical and rococo. It was shown how neostijes penetrated into the royal food culture at home and abroad. Neo also had a connection with nature. Since the eighteenth century, the exact imitation of fruits, plants and animals in porcelain, glass, ivory, textile and metal became all the rage. Nature inspired lush decorations, such as in the glassware of Gallé and Lalique, embellished with exuberant plant and animal motifs. The fact that nature continues to attract modern artists was represented, in the exhibition, by Andy Warhol's series of silk prints entitled 'Flowers' in 1970. 21 Aug blog
Runway Archive: Vivienne Westwood S/S 1991 Vivienne Westwood RTW Menswear show, s/s 1991, Courtesy Pitti Immagine, all rights reserved. The picture portrays a male model wearing a white shirt, probably in linen, forming a big bow around the neck, and a suit, made of tailcoat, waistcoat and trousers in grey lightweight fabric. The waistcoat and the tailcoat present a heavy golden embroidery on the front, representing some floral motifs that go around the edges of both items. The outfit is part of Vivienne Westwood S/S 1991 collection, which was presented during Pitti Uomo 38 in Florence in 1990. English designer Vivienne Westwood always looked at the past and, more precisely, at past traditions and cultural and artistic artifacts, in order to ground her collections into a well-thought scenario. The collection this outfit belongs to was called ‘Cut and Slash:’ it featured different fabrics, such as satin, cotton and denim, all of them slashed and mixed together. The inspiration for the collection was the mania, which emerged in the sixteenth century but lasted at least two centuries, for cutting and pricking fabrics. This collection followed the A/W 1990-91, which was called ‘Portrait’ and was inspired by oil paintings, proposing outfits that could literally to come out of historical paintings. 17 Aug blog
Bill Gibb: Romantic Fantasy In the late Sixties and throughout the Seventies, the youth movements brought a renewed interest in historicism, provoking a romantic exploration of the techniques and crafts of the past centuries. This influenced many aspects of creative expression, including fashion. Full-length blue evening dress of crêpe, designed by Bill Gibb, 1972. Courtesy Victoria and Albert Museum, CC BY. One of the many designers who took part to this revival craze of romantic historicism, was Bill Gibb. Coming from a village in Scotland, Gibb attended the fashion course at the Central Saint Martin's School of Art in London on suggestion of his school teachers, and later won a scholarship to the Roayl College of Art, to which he enrolled and then left before completing his degree to start his own business. In 1967 he was on of six designers invited to New York to present their collections, and on this occasion he spent three months touring the USA, after which he returned to London to open his first boutique, the 'Angela Paul'. Ensemble designed by Bill Gibb, ca. 1970. Courtesy MUDE - Museu do Design e da Moda, all rights reserved. For the boutique, which he run with three firends through 1969, he designed clothes that reflected the spirit and the style of 1960s London. However, it was during the Seventies -he started his own line in 1972 - that he embraced the fantasy style for which he became mostly known. Beside taking inspiration from the world of nature and animals, his creations that looked at past handcrafts and techniques, combined in historically inspired gowns and dresses, made him one of the best representat of 'romantic eclecticism,' a style that was popular at the time. Suit consisting of printed glazed cotton skirt and jacket, possibly designed by Bill Gibb for Baccarat, 1971. Courtesy Victoria and Albert Museum, CC BY. Gibb also collaborated with artist Kaffe Fassett, who designed for him intricate knitwear patterns that were produced in collaboration with Mildred Bolton and later with a manufacturer in Leicestershire who machine-knit his intricate design. He kept designing until the mid-1980s; he presented his last collection in 1985, one year before his death. 15 Aug blog
Europeana Fashion Focus: Sketch from the Collezione Palio by Emilio Pucci, 1957 Sketch from the Collezione Palio by Emilio Pucci in 1957, Courtesy Pucci Archive. The image shows a sketch of a bathing suit from the Collezione Palio designed by Emilio Pucci in 1957, Courtesy Pucci Archive. The bathing suit is a one-piece in black and yellow fabric, one-shoulder, with a central design recalling the battlements of medieval castles. The battlement divides the yellow from the black part, creating an interesting geometric play on the curvaceous body of the model sketched wearing the swimsuit. The silhouette of the model is clearly inspired by the divas of the 1950, who were costumers and also friends of the Marchese Pucci. Together with the bathing suit, a matching headpiece in black fabric is also added to complete the look. In 1957 The Marchese Emilio Pucci presented at Palazzo Pitti a collection inspired by the Palio di Siena. The collection drew inspiration from the colors of the flags and the heraldic motifs of the various contrade battling each year in the famous Palio di Siena: an history event taking place every year, and to which the Marchese assisted in 1955. The translation he made of this event into his fashion language was a synthesis of the atmosphere of the Palio with the ‘modern’ attitude to dress that was developing in western society. Emilio Pucci himself declared: It may seem strange that I have chosen such a remote theme for my work that is so modern. But I, a Florentine craftsman of today, feel very close to the artisans of the Three and Fourteenth Centuries and it is the medieval element of the Palio with its rich geometric and color motifs that fascinated me. 13 Aug blog
Runway Archive: Christian Dior Couture s/s 1998 Christian Dior couture show, s/s 1998, photo by Etienne Tordoir. Courtesy Catwalkpictures, all rights reserved. In the picture taken by photographer Etienne Tordoir, a model dressed in all-silver is going down the stairs of the Opera Garnier, where the Christian Dior couture spring/summer 1998 show was staged. The look was designed by John Galliano - then creative director of the Maison - and is composed by a multilayered dress with an asymmetric cut; it is made of two different ligh fabrics, both in silver, and an armour sleeve in metal. On her head, the model is wearing an headpiece resembling a metallic crown with long bejewelled chains. Featuring a lavish succession of Art Noveau silhouttes in richly brocade and velvet fabrics, and sumptuous ornaments and trims, the collection of which this look is part of was inspired by the Marchesa Casati, the eccentric Italian heiress and patroness of the arts, who became an icon of the first half of Twentieth century. During the show, the stairs of the Opera Garnier welcomed models in overwhelming clothes that looked like they were coming to attend a masked ball. Drawing from the ecletic figure and wardrobe of the Marchesa, the collection featured 1920s inspired coats and dresses, but also wide 19th century gowns. The whole show - a real event - ended with a shower of pastel coloured confetti cut in the shape of butterflies. 10 Aug blog
YSL: The avant-gardism of revival The relationship fashion has with its past is quite complex. The past can either be a prison to flee away from or a jar where to find atmospheres, shapes, vibes. We are taught that, when past is the declared source of inspiration, we are talking about a ‘revival’. The dynamics of revival seem plain: revival means taking a period and rethinking it, reconsidering it with a different awareness, that of the present, and actually remaking its objects with the memory of the mould. The first ‘revival’ collection was actually thought for people who ‘did not have memories’, and was developed by one of the designers whose name is related with avant-garde: Yves Saint Laurent. In 1971, Yves Saint Laurent presented his ‘Liberation’ collection, also called ‘Forties’, for the evident reprise of themes and variations of the war years. The collection was defined ‘hideous’ by the press, because it was a ‘sad reminder’ of a period of restriction. Pleated dress with mythological figures, Courtesy MUDE - Museu do Design e da Moda, Colecção Francisco Capelo France felt betrayed by the elected heir of the grand couturiers. Saint Laurent himself compared the clash he provoked with the ‘scandal’ of Manet’s ‘Olympia’, finding himself both ‘sad’ and ‘delighted’ by the results of what he considered a rebellion to the static nature of Haute Couture. ‘L’important, c’est que les filles jeunes qui, elles, n’ont jamais connu cette mode, aient envie de la porter,’ he declared. Maybe pushed both by the ‘revival craze’ fashion is experiencing in these days and the general lack of novelty in fashion, in 2015 the Fondation Yves Saint Laurent Pierre Bergé and curator Olivier Saillard decided to put on stage the infamous ‘Liberation’ collection. The set, designed by Nathalie Crinière briought the audience inside the laboratory of the couturier, with clothes, sketches, fabric choices and the whole line up of the eighty-pieces collection, printed human-scale on the walls, and then moves through the many pages of newspapers which strongly criticised the collection. The exhibition came in a moment when scandal was no longer a scandalous word. For Saint Laurent, revival meant provocation, a ‘historical exercise’, useful to convey a brand-new message. 07 Aug blog