The Future of Exhibitions

Examining Opportunities and Limitations for the Future of Fashion Exhibitions

(1.)

DE0929 v002328

Contents Introduction context methodology findings

5 7 8 11

the transfer of fashion to exhibition spaces

12

The influence of contemporary art practice on fashion exhibitions

16

The impact of requirements of preservation on the methods of exhibiting fashion

19

different methods of presenting the fashion and future technologies

20

conclusion bibliography and refrences

25 26

4

Chloe ‘Attitudes’ Exhibition, Paris, 2012 (2)

5

Introduction

This research document will consider the opportunities for creative exhibition of fashion and the factors which may limit this.

For the purpose of this research the areas of focus are; o

The process of fashion being taken from runway and retail and into a gallery space, viewed as art or a historically or socially important.

o

To consider how fashion exhibitions could be influenced by contempo- rary art practice of the movement of viewing art outside gallery spaces e.g. community, public art, interventions, installations.

o

Methods of displaying and presenting the fashion – current technolo- gies, future technologies and possibilities.

o

The impact of requirements of preservation on the methods of exhibit- ing fashion.

The aim of this research is to develop a more informed understanding of fashion exhibitions, and their potential, and to provide evidence to inform future design of fashion exhibitions.

6

Yves Saint Laurent ‘The Retrospective’ Exhibition, 2012 (3)

7

Context A key issue when researching fashion exhibitions is to consider what defines fashion. Kawamura (2006) suggests it is hard to provide an exact definition because fashion and its meanings change in time and location.

Fashion defined as a style, gives a value to an item of clothing but it is not a tangible or actual presence, rather it is how the clothing is perceived that defines it as fashion. Polhemus (1996) has examined the complexity and significance of fashion in relation to identity and suggests this is a key aspect of fashion. He also encourages us to identify a variety of sources of fashion; from street level up, downwards from high fashion and from life style to social changes.

In 2011 the New York Times suggested that at moment there are; “at least a dozen museums across the world offering major fashion displays — not to mention exhibitions in galleries or even department stores”.

It is believed that the first fashion shows that resemble catwalks, as we know them, occurred in the 1800’s, and were then know as fashion parades (Gardiner, 2010). Catwalk shows now happen all over the world, however, it is less clear when the idea of taking fashion from the runway to an exhibition context first came about. Evidence suggests that the first fashion exhibition of a living designer was in 1983, at the Metropolitan Museum of Art in New York (Snaije, 2010), and was a ‘study’ of the work of Yves Saint Laurent.

The design and presentation of fashion exhibitions are various and include; rows of images and objects in traditional glass cabinets, pop up exhibitions, web based and installation pieces in white wall spaces. There are also commercial exhibitions for businesses and individuals to promote their products or services. The different motives for exhibitions affect the curation and design and the experience the audience has (Hollows, 2007).

Fashion exhibitions generally fall into three categories; 1.

Museum or gallery based exhibition which show fashion in a historic or socially informative context.

2.

Museum or gallery based exhibitions which celebrate the work of a specific designer or genre.

3.

Museum or gallery based exhibitions in which fashion is presented as art and communicate a specific concept in relation to fashion or other issues, for example gender or the environment.

Fashion exhibition is described as “clothes suspended in rigor mortis, offering a seductive example of “hallucinatory euphoria”, a glimpse into a dystopia of deathless colours and inhuman brightness, a veritable imitation of life” (Wilson, 1992: pg 133) “Wilson’s essay highlighted the absence of a living human form for the clothes in the exhibition, which pointed to the centrality of the body to studies of fashion at the time” (O’Neill, 2008 pg 133).

Wilson suggests that without the inclusion of a person wearing the fashion, an exhibition about fashion would be an unsatisfactory and even unpleasant experience. This quote reminds us that when considering fashion exhibitions there will be different perspectives, beliefs and values that need to be reflected upon.

8

Methodology This study aims to produce qualitative research and qualitative findings. Research methods include semi structured focus groups, semi structured interviews, an online survey, analysis of research, and primary research visits. The aim of using these methods was to generate phenomenological research.

McLeod (2001) emphasises the importance in a qualitative study of the researcher understanding why they are using chosen procedures and what they hope to achieve, the capacity of the researcher and their commitment to the search for truth and meaning.

This research asks ontological questions; what is ‘real’ for participants (including the researcher) in regard to their experience of fashion exhibitions. There are assumptions, which inform the questions; fashion exhibitions occur and exhibition is an appropriate or relevant way of experiencing and presenting fashion. An epistemological question aims to ask how things really are.

The researcher was required, as described by Nieswiadomy (1993), to bracket their experiences in order to understand those of the focus groups. Moustakas, (1994), helps identify limitations of using this methodological approach for this study; as an assignment it did not allow in-depth or lengthy engagement, so conclusions will be correspondingly limited. Further methodological limitations include the researcher’s ability to be objective.

As a student on a fashion based course it is evident that there may be bias and, outcomes must include an evaluation of objectivity, the researcher’s reality and potential manipulation of the methodology.

When carrying out research it is necessary to consider ethical issues in relation to the research and findings.

Participants of the questionnaire are anonymous, to protect identities and to ensure no ethical boundaries were being crossed (see appendix 1). The questionnaire was promoted on the social networking site Facebook, thus all participants knew of the researcher, however the nature of the relationship was unknown. A positive aspect of this method was participants were self identifying a desire to fill out the survey, and they were more likely in a relaxed environment and able to take time over the questions. A negative aspect could be that for some aspects of the research it may have been helpful to target specific participants.

The participants from the focus group were male and female, and represented a variety of age groups. They were invited to contribute as part of a university research assignment and were asked to give consent in regard to their participation and use of the data collected. Of those that participated very few had previous or extensive knowledge regarding fashion exhibition, a negative of this is that their opinions were not as informed as they could have been , a positive is that the opinions they offered unbiased. All of the participants were personally known to the interviewer. The advantage of this, as recognised by Creswell (2009), was that the data could be sourced at a time that was convenient and participants were able to give their full attention. The limitations of this approach included the potential that within the participating group not everyone would be equally articulate and insightful.

9

The data collected whilst providing some phenomenological evidence analysis, does will not reflect the full diversity of the public and their experiences. The majority of the participants did not fully reflect the cultural diversity of the UK. It should also be noted that when participants were asked if they ever visit exhibitions, the majority said only occasionally. Very few said once a month and none said more frequently.

See Appendix 1

10

11

Findings

Louis Vuitton Voyages, an exhibition at the National Museum, Beijing (2011) (4)

12

The transfer of fashion to exhibition spaces “Fashion offers a dialogue rich with social and political meaning for those who want to unlock the language of clothes. There is much to be learned from exploring the relationship between humans and finery – a relationship which goes way beyond the functions of protection and warmth, and becomes a recognition of the power of image to augment individual and collective identity” (Franklin, 2012, p8).

Lagerfeld (2011) said ““You can share a lot more in a museum”. A current fashion exhibition at the V&A Museum illustrates this. Hollywood Costume is a sell out and presents over one hundred years worth of celebrated costumes from filmmaking (Landis, 2012). The theme and content of the exhibition has clearly connected with the audience. This exhibition is one of many museum and gallery based exhibitions, showing fashion in a historic or socially informative context that have been well attended.

Another successful example, of a fashion exhibition presenting historic information and contextualising it, was held in the Palace of Versailles, ‘Revisiting 18th Century Fashion’ (see appendix 3). It displayed original dresses from the era, along with modern interpretations of the dresses created by designers such as John Galliano and Vivienne Westwood and this was one of the key concepts for the exhibition, as described by the Guardian Newspaper (see appendix 3). “It hinges on the understandable interest in that era displayed by contemporary dress designers” (Elvin, 2011). However, it also argued that the contemporary designs were there because without them there wouldn’t be many dresses on display, due to “very few items of clothing having survived the French revolution” (quote from video, see appendix 1). There appears to have been a division of opinion in how the dresses were displayed. The older garments were placed on mannequins whilst the contemporary fashion was mostly displayed more casually, for example they were draped over beds. During the focus group (see appendix 1) one participant suggested this was to give the impression of real life, perhaps in the intention was to use different methods of presentation to suggest different values or meanings to the fashion. This is something that could be further explored in future fashion exhibitions.

An example of a fashion exhibition celebrating the work of a specific designer was the Chloé exhibition, ‘Attitudes’, in Palais de Tokyo, Paris (see appendix 2). Described as a “fashion retrospective” (Serafin, 2012) the exhibition celebrated the fashion label’s 60th anniversary. For the curator, Judith Clark, the exhibitions aim was “to open the space up to other kinds of visitors, and [to] reinvent how to stage an exhibition”. This suggests that they were intending to challenge what the audience would expect and to try new ways of presenting work with the hope of encouraging as many visitors as possible and to make them more aware of and knowledgeable of the Chloé brand and perhaps by association imply that it is innovative.

Also curated by Clark was the exhibition ‘Spectres: When Fashion Turns Back’ (see appendix 3) which provides an example of fashion presented in a manner similar to contemporary art with an imaginative layout for the exhibition space.

“Set up as a series of seven fairground attractions, Spectres invited the visitors into a labyrinth of associations: a shadow lantern throws silhouettes, enlarged maquettes look like games for grown-ups, rotating cogs make and break patterns” - (V&A website, 2005)

13

It is evident that how the audience experienced the fashion and the exhibition was again considered a priority, and was intended to enhance or emphasise what was being communicated through the fashion. The exhibition design was informed by contemporary art but also, it could be argued, that it may have been influenced by film or theatre design. The exhibition was very removed from the traditional glass cabinet display format.

When considering fashion experienced as art, in a gallery environment, Judith Shea’s performance piece ‘King and Queen’ provides a good example to discuss. Townsend (2002, P15) describes how the 1976 piece consisted of; “two cut and folded blank canvases, taken down from the stained and pitted walls for the exhibitions ‘prom’ as over-scale ceremonial robes for the guests of honour”.... “From that moment of almost absence, of a near nullification of art’s language and its visuality, Shea would proceed to reinterpret fashion as a means of escaping postminimalism’s implosion of the object. Fashion would be used to reintroduce first shape, then colour and finally dimension, all accompanied by narrative” The bold creation of garments within the piece could be argued are what turns it into art; the fashion itself is the art.

The boundaries of fashion and art can be blurred thanks to the often sculptural qualities of couture fashion.

Garments are sometimes designed specifically for installation purposes (see appendix 3) or in a manner which emphasises, reflects on or challenges what fashion is. Fashion is also used to comment on social or environmental issues. For example, artist Caroline Broadhead describes her work as; “offer[ing] an experience. [Her] interest is in the body or its absence, its senses and its movements. Light and shadow have been important in [her] work and recently reflections play an important role” (Woolf, 2009).

An example of Broadhead’s work ‘Back to the Wall’, Tulle and paint, 2011 (5)

14 Back to the Wall (2011), “....she doesn’t include the actual picture of a person inside the clothing, rather she leaves that empty displaying the dress as if to be filled by and “invisible” person. ” (Ashley, 2011).

This piece represents how concepts that relate to fashion can be explored within fine art work. Another example Steel Dresses by Barb Hunt. (see appendix 3). An exhibition was held in the De Luca art gallery, with a white room filled with single sheet cold-rolled steel flat, 2D dresses. It could be argued that this venue and method of making the work creates more of a focus on the design of the dresses, and thus on fashion because there is less distraction.

Hunt’s Steel Dresses, De Luca Gallery (see appendix 3) (6) “This work originated as a way of investigating the social constructions or identity, in particular the categories of masculinity and femininity” - (Holly, 2012) The suggestion of using real people (models) to exhibit fashion caused a negative reaction in the focus group.

When asked, one participant said that it would “freak [them] out” (see appendix 1). The question resulted in laughs and a resounding no. However, one participant spoke about their experience to the Dr Who exhibition, London, and said that is was “quite interesting seeing someone wearing a ‘Cyberman’ costume and you don’t realise how big they are until you see one”. This then brought the group to discuss how this method was most suitable for children, perhaps family focused exhibitions, which often isn’t aim for fashion exhibitions.

Contradictory , fashion ‘presentations’ are a method regularly used during Fashion Week’s, and offers designers and brands a way of showing their collections other than the runway. For example during New York Fashion Week A/W 2011 (see appendix 1) Maisonette used a presentation to show their collection.

15

(7) Cris, from the Fashion Notes blog, describes fashion presentations as “different from shows, but still with models wearing the new collections and posing in a hall among visitors, waiters serving champagne and cupcakes” (Cris, 2010).

This is now seen as quite a traditional method of displaying fashion, and has previously been carried out in a gallery type space. For example with designer Maria Francesca Pepe, London designer, Polizzi (2010) states, “that with the presentation of her new collections “Amor Los Une” has brought the editors of the major fashion magazines from all over the world in Belgrave Square... The models, standing on plinths, have shown the beautiful lines of these dresses, almost like a work of art...In the background the music played by pianist Raya Kostova from the Royal Academy of Music has given that final sophisticated touch recreating a 1920’s interactive Salon Presentation. This season the collaboration with the Italian Culutural Insititue has proved perfect, giving the opportunity to be more creative with the whole presentation thanks to the space available”.

The fashion presentation has similarities to a fashion exhibition, yet it is on a smaller scale. The main difference being that for the audience, it is a one off event, and they are very exclusive, you need of tickets to gain entry.

This contrasts with the openness of exhibitions, and the demand to be engaging because the designers of the presentations do not need to worry about maintaining visitor numbers.

16

The influence of contemporary art practice on fashion exhibitions A gallery is; “constructed along laws as rigorous as those for building a medieval church. The outside walls must not come in, so windows are usually sealed off. Walls are painted white. The ceiling becomes a source of light. The wooden floor is polished so that you click along clinically, or carpeted so that you pad soundlessly, resting the feet while the eyes have at the wall” (O’Doherty, 1991).

This description of an exhibition space is familiar and suggests that galleries follow the strict guideline with the hope of facilitating a certain reaction in the audience, of generating feelings or attitudes. As discussed above, fashion exhibitions have been drawing from contemporary art exhibitions in the way they are designed.

However there may be further inspiration gained by studying other aspects of contemporary art practice, in particular where galleries and curators are challenging how the audience experiences the work.

One way to do this could be by taking art out of the galley, which can sometimes be done quite literally in the case of artist Doug Aitken. His exhibition, ‘Altered Earth’ in Arles, France, displays the artists work through projections, in a space resembling an empty warehouse (see appendix 3). Ellen Himelfarb, of Wallpaper magazine (2012) said; “Few artists have done as much as Doug Aitken to take contemporary art out of the gallery and into your backyard – quite literally in some cases” Aitken is most famous for his video projections onto a variety of surfaces, and describes the projections as “liquid architecture”. He says that “almost anything can be used as a projection surface” (Himelfarb, 2012). This moveable method of presenting art suggests that the work will be potentially more accessible to a wider audience. For those planning a fashion exhibitions the use of projection has potential for both showing the garments and for creating environments in which to experience the work.

Many artists and galleries are working hard to maintain visitor numbers and to engage their local communities.

In 1996 The Glasgow Gallery of Modern Art opened, and by 2007 was the most visited contemporary art museum in Britain, outside London. The gallery was not afraid to offer challenging exhibitions and had a strong commitment to exhibitions on the theme of human rights. An important factor in their success was a citywide community engagement strategy. (Glasgow Museums, 2007). Activities included residencies, outreach programmes working with community groups and agencies, workshops, discussion sessions, partnership projects, collaborative working and guided visits. Fashion exhibition designers may want to explore aspects of this practice to encourage attendance, participation or to help the audience understand more about the fashion in show.

17

Doug Aitken, ‘Altered World’, (2012) (8)

18

An example of the Victoria & Albert’s Conservation Departments work (2011) (9)

19

The impact of requirements of preservation on the methods of exhibiting fashion

There are practical obstacles to displaying fashion in exhibitions; garments may be valuable, delicate or historic.

Some fabric may require to be kept in cabinets that control light levels, temperature and air circulation, as discussed on the Victoria and Albert’s museum website. This then inevitably limits the creative ways which more delicate garments and ones of a historical significance can be displayed. An example the V&A had to manage the conservation of an extremely rare costume by Christian Dior during the preparation of The Golden Age of Couture exhibition in 2007. Amy Serafin, (Wallpaper magazine, pg. 101, 2012) describes how when Judith Clark first walked into the exhibition space for the Chloe exhibition; “she came face to face with a fashion curator’s worst nightmare: windows, 12 of them, each 2.8m high by 2m wide, letting in unlimited quantities of fabric-damaging light”.

The Victoria and Albert Museum, London, has an active conservation programme, “Textiles and Fashion Conservation deals with objects, materials and techniques associated with furniture, textiles and dress. Within these areas objects may be made from or incorporate a wide range of both organic and inorganic materials. The studios collaborate in areas such as the conservation of upholstered furniture and conservation within historic interiors” - (V&A website) The V&A make it clear on their website (see appendix 3) that they invest a lot in training for conservation and development of techniques, which suggests that it is something they feel will be important in the future. Future technologies could potentially ease curator’s problem with this. Alternatively, there is the option of having the garments locked away in cabinets, and a replica made, which could possibly mean the audience could touch or even try garments on. Within the focus group (see appendix 1) this is something that people felt strongly positive about. For example, when asked if they liked the idea of having replicas of historically significant dresses to try on, (like those in the Pop Art room at Wolverhampton Art Gallery), multiple participants said that this was something they would definitely like. As identified above, things that engage people has the potential to influence future visitor numbers.

20

different methods of presenting the fashion and future technologies At a convention held in 2010 called ‘The Future of Exhibitions, Meetings and Events’, although not specific to fashion, one of the main challenges highlighted was relevant and was in regard to keeping visitor numbers up, with a customer base with; “declining attention spans, that expects to be always-on, consulted, not afraid to ask ‘why’ and has a zero tolerance of failure” - (Convention 2020 – see appendix 2).

This suggests that visitors to fashion exhibitions will have high expectations and a desire to be entertained with the best that can be offered to them and in consequence there is a testing, costly, and strategically difficult job for curators and exhibitions designers. During the conference, it was also recommended that “the advances of science and technology” always needs to be considered. This leads to the questions, how integral will the role of technology in future exhibitions, and how can they be used in relation to fashion exhibitions.

Virtual and immersive technologies it suggested are; “converging to a point where they are more affordable, practical and understood by business”.

However, “Speakers at the convention then left an unanswered question; “How well is the opportunity understood by the industry?”

QR Museum is a company set up to “enhance public interaction” in a museum environment (appendix 3).

They believe that the future of museums can be enhanced “through engaging with the new digitally-aware demographic audience”. QR Museum offer services to the museums to assist with interactivity, such as creating apps and QR coded exhibitions, so the audience can use their own devices to navigate their way around the museum.

When participants of the questionnaire (see appendix 1) were asked if they would enjoy an exhibition more if there were interactive elements in it, 100% said ‘yes’. This indicates that it is something the public feel is important to their experience, and it could suggest that it is what people expect, now, in a museum environment.

Interactive displays are already well established in technology based venues such as science museums and perhaps because the public are now familiar with them they are becoming increasingly evident in art, history and cultural museums. McLean (1993) defines interactive exhibits as; “those in which visitors can conduct activities, gather evidence, select options, form conclusions, test skills, provide input, and actually alter a situation based on input”

21

At the Public in West Bromwich (see Appendix 1) the exhibition manager said “we have a number of interactive installations and 32 touch screens. People are now so used to having to interact with things to make them work that we often have people who are confused if we put on a screen that is not touch sensitive!” This statement proves that this is something the public expects.

Wired magazine (2012/2013) recently focused on future technologies, some of which could be useful within fashion exhibitions. For example, 3D displays. Although these do currently exist, according to Wired, exhibitions could take, “a step towards glasses free 3D, using a polarising film that can be overlaid on top of the screen”.

The ability to have standing 3D displays where the viewers won’t need to put on glasses, and potentially more importantly, the gallery won’t need to provide them, would mean easier, potentially cheaper, visually pleasing and interactively drawing displays. This 3D method could mean that dresses could be virtually shown, whilst still allowing visitors to see all different angles and textures and more. Perhaps this might also be a step towards overcoming conservation issues?

Wired magazine also talked about curvy and flexi displays screens that are bendy and moveable, that visitors could twist and move around. The screens are made of “a new kind of micro glass, just 100 microns thick and as flexible as plastic film, will mean that monitors and tablets displays no longer have to be flat”. Otherwise known as “Willow glass”, they can be “wrapped around any shape, opening the way to screens that give a more immersive viewing experience” (2012).

In the past it might have been argued that these sorts of methods were better suited to museums, which target their exhibitions more at a younger or family audience. Today this attitude should be challenged. Whilst it may not be a focus for fashion exhibitions, curators and designers will need to be aware of new technologies and immersive interactions, and their potential for keeping an audience interested but also how they can change the perceptions to the audience, in a negative way. There are issues in regard to the reliability and functionality of interactive technology. For example, referring back to The Public gallery (see appendix 1), which was reviewed negatively due to a lot of the exhibits being out of order, or too confusing to use. Graham Peet, Exhibition managed, expressed how they try to overcome this obstacle: “We have a team of technicians and there is always at least one person looking after the gallery in case something needs dealing with.” (Peet, see appendix 1)

22

A section taken from the Victoria & Albert’s website (10)

A print screen of the Victoria & Albert Museum’s Twitter page (11)

23

At The Public, there was a lot of technology, which was “almost over whelming” (see appendix 1). Feedback from the focus group made it clear those failures in technology was something that had been commonly experienced and they felt it was disappointing. Allen and Gutwill (2004) also identify how some interactive exhibitions have; “confusing directions, controls that do not follow cultural conventions (such as turning a knob clockwise to decrease something), unclear feedback on whether the user has made a change to the exhibit, interaction that is so limited or mundane that it frustrates or bores visitors, fragility, lack of safety”.

The Frameless Gallery, London goes further in rebuffing technology; “rather than becoming more interactive or high tech, we find that there is a constant effort to pair things down and show artwork for what it is, in slick and minimalist surroundings but to a very high effect and audience impact.

We find the importance in curating and presenting works of art lies with the concept and the curatorial premise rather than anything gimmicky” – (see appendix 1) There are also internet and social media based opportunities for exhibiting fashion. Myspace had its moment, then made room for Facebook, which has over “350,000,000 ‘addicts’” (Becker, 2012). Currently, Twitter is becoming one of the largest social networking sites, with over 750 tweets being sent every second (Becker, 2012).

These methods could act as platforms for designers, museums and artists to advertise their up and coming exhibitions. A perfect example of a museum exploiting this is the Victoria and Albert Museum. On their websites homepage, they have a section named “Keep in touch” (see image on opposite page), and the museums Twitter account includes ‘tweets’ such as “Is our #DavidBowieis exhibition in your 2013 diary yet? If not then don’t miss out! Book now” (V&A Twitter). Seeing that such a high profile gallery is using this method, it other, perhaps smaller galleries could do similar to promote exhibitions and events. As it is a free service, it is something that anyone can do to reach out to a potential audience.

However, there is an element of fad and risk of contamination by scandal, for example, Instagram being recently in the news has made a lot of celebrities close their accounts (Slovak, 2012), which will theoretically impact on other users. Whilst there is the potential to reach a lot of people, is social media really the way forward?

A further use of the internet is to platform exhibitions, or host ‘virtual exhibitions’. Valentino exploited this method, during the 2012 exhibition at Somerset House (see appendix 3). The online exhibition consisted of a webpage showing a virtual house. Users click their way through, to see things such as Valentino haute couture dresses, along with reading information about the fashion house and its history. When the focus group where demonstrated this website, their reactions were initially confused. An interesting question that was asked was “do you have to pay for it”. When they were told no, some reactions were still negative. One person said that they would still rather see the actual exhibition, not just one on a screen. However, one participant said that “for some people in certain areas and different countries it would be a perfect way [to view the exhibition]”. Specifically for fashion exhibitions, fabric will be hard to represent to visitors on a screen. Considering the feedback, although virtual online exhibitions currently don’t rival real exhibitions, they could effectively run alongside one.

24

25

Conclusion It is evident as a result of this research that there is a future for fashion exhibitions and that the context, content and design of them will be varied. However it is also clear that the most successful exhibitions will be those on themes such as historic or the big names in fashion, or with content that engages the audience. It is also evident that exhibition designers will need to give careful consideration to how they could or should use technology and interactive elements. Whilst they offer exciting opportunities, in particular flexi and 3D displays, there are also negative aspects in relation to efficiency, cost and it is questionable how much audiences value their experiences of it. Technology is not just needed to present but also to preserve garments, however there are also opportunities to provide hands on opportunities for the audience, such as if replicas are made for them to handle or indeed try on.

Taking fashion exhibitions out of gallery spaces and into alternative venues could arguably improve visitor numbers because of improved accessibility. Also in the UK, the majority of high profile fashion exhibitions take place in London, so potentially touring exhibitions could lead to higher visitor numbers for people outside the city. Online exhibitions could be said to be portable exhibitions and also provide more opportunities for people to access the fashion, however, it could be suggested that these are created to coincide with running museum or gallery exhibitions, rather than replacing them.

As Judith Clark says,� I’ve never found myself looking for one solution in dress so the idea of fashion and utopia is complicated, so the closest you can get to the idea of infinity is the investment in fashion as a work-in-progress that never ends so you are part of a process rather than a product� (Clark, 2004), and fashion exhibitions could be considered the same.

Word count 4079

26

Bibliography and Refrences Books • Creswell, J, W. (2009). ‘Research Design, Qualitative, Quantitative and Mixed Methods Approaches’.

London : Sage.

• Fallan, Kjetil,. (Feb 2012).‘Scandinavian design: alternative histories’. 1st ed. Scandinavia:

Berg Publishers.

• Franklin, C,. (2012).’Fashion: The Ultimate book of Costume and Style’ 1st ed. Great Britain:

Dorling Kindersley Limited.

• Hollows, V. (2007). ‘Towards an engaged gallery’. 1st ed. Scotland: Culture and Sport Glasgow (Mueums).

• Hughes, P,. March (2010). ‘Exhibition Design’. 1st ed. England: Laurence Kind in association

with Portfolio.

• Kawamura, Y,. (2006). ‘Fashion-ology: An Introduction to Fashion Studies’. Oxford: Berg Publishers.

• McLeod, J (2001). ‘Qualitative Research in Counselling and Psychotherapy’. London: Sage.

• Moustakas, C. (1994) Phenomenological Research Methods. Thousand Oaks, CA: Sage • Neiswiadomy, R. M. (1993). Foundations of nursing research. 2nd Ed. Norwalk, CT:

Appleton & Lange.

• O’Doherty, B,.(1991). ‘Inside the White Cube’. 4th ed. Canada: University of California Press.

• Polhemus, T,. (1996). ‘Style Surfing’. UK: Thames & Hudson.

• Townsend, C,. (2002). ‘Rapture’. 1st ed. London: Thames & Hudsen.

• Vranckx, B,. (Dec 2006). ‘Exhibit Design: High Impact Solutions’. 1st ed. UK: Collins Design.

• Wilson, E,. (1992). ‘Fashion and the Postmodern Body’. London: Pandora

27 Websites • Rosenfeld, J,. (2004), ‘The Salon and The Royal Academy’, http://www.metmuseum.org/toah/hd/sara/

hd_sara.htm. Accessed 12/10/2012 • May, J,. (2009) http://www.touringartprojects.org.uk. Accessed 12/10/2012 • NA, (2009) http://www.squidoo.com/top-10-museums#module162314421. Accessed 12/10/2012 • NA, (2012) http://www.louvre.fr/en. Accessed 12/10/2012 • Waters, F,. (2012), ‘Britain’s most popular exhibition of the year? Have a guess’http://www.telegraph.

co.uk/culture/art/art-news/9163096/Britains-most-popular-exhibition-of-the-year-Have-a-guess.

html#. Accessed 12/10/2012 • Himelfarb, E,. (2012), ‘Artist Doug Aitken’s ‘Altered Earth’ exhibition in Arles, France’ http://www. wallpaper.com/art/artist-doug-aitkens-altered-earth-exhibition-in-arles-france/6144 • Gardiner, S.J,. (2010) ‘When did the first ever fashion show take place, and how did it start?’ http:// www.istylista.com/blog/-/when-did-the-first-ever-fashion-show-take-place-and-how-did-it-

start_398/. Accessed 18/10/2012 • NA (2012), ‘Saint Laurent’ http://en.vogue.fr/thevoguelist/saint-laurent-1/337. Accessed 18/10/2012 • Menkes, S,. (2011)‘Gone Global: Fashion as Art’, http://www.nytimes.com/2011/07/05/fashion/is-

fashion-really-museum-art.html?pagewanted=all&_r=0. Accessed 02/01/13 • Francesca, (2008), ‘On Fashion Curation’ http://www.fashionprojects.org/?p=412. Accessed 03/12/12 • Socha, M,. (2011), ‘Museums get fashionable’ http://www.wwd.com/eye/design/fashion-exhibitions-

thrive-at-museums-5388845?page=2. Accessed 03/12/12 • Wischhover, C,.(2011), ‘Miuccia Prada and Elsa Schiaparelli Will have a ‘conversation’ at the Met’s

Next Costume Institute Exhibit’ http://fashionista.com/2011/10/muiccia-prada-and-elsa-schiaparelli-

will-have-a-conversation-at-the-mets-next-costume-institute-exhibit/ . Accessed 03/12/12 • NA, (2011) ‘MA Fashion Curation’ www.fashion.arts.ac.uk. Accessed 03/12/12 • Clark, J,. (Various Articles), www.judithclarkcostume.com. Accessed 03/12/12 • NA, http://cityam.com/lifestyle/fashion/valentino-the-last-emperor-couture. Accessed 03/12/12 • NA, (Various Articles), http://www.businessoffashion.com/. Accessed 18/12/12 • NA, ‘Two Centuries of Fashion History, Starring Tilda Swindon’, http://www.style.com/style

file/2012/09/two-centuries-of-fashion-history-starring-tilda-swindon/ . Accessed 18/12/12 • Knox, K,. (2012), ‘Louis Vuitton X Marc Jacobs Exhibition at the Musee des Arts Decoratifs, Paris’

http://theclotheswhisperer.blogspot.com/. Accessed 02/12/12 • (various research), (2012), http://www.guardian.co.uk/artanddesign/2011/sep. Accessed 30/12/12 • (various articles) http://nottinghamcity.gov.uk/index.aspx?articleid=7481. Accessed 29/12/12 • NA (2005), ‘Spectres: When Fashion Turns Back’, http://www.vam.ac.uk/content/articles/s/spectres/ .

Accessed 30/12/12 • (Various Articles & Research) www.vam.ac.uk, Accessed 30/12/12 • Polhemus, T,. (NA), ‘Main Idea’, http://www.tedpolhemus.com/main_concept2%20467.html.

Accessed 02/01/13 • Snow, J,. (NA), ‘Exhibition design by Nendo’ http://jeansnow.net/2009/11/13/exhibition-design-by-

nendo/ - accessed 28/11/2012 • Yii,. (2011), ‘Yii Exhibition’ http://nendo.jp/en/works/detail.php?g=event&t=209. Accessed 28/11/12 • Holly, S,. (2012), ‘Hunt’s Steel Dresses’ http://nedelya.wordpress.com/2012/06/18/hunts-steel-dresses-

and-tony-calzettas-works/. Accessed 15/12/12 • NA, (2011), http://wired.co.uk/news/archive/2012-6/07/bacteria-wine-dress. Accessed 20/12/12 • (Various Articles), http://nytimes.com. Accessed 29/12/12 • Rosemary, S,. (2002), ‘Caroline Broadhead’. http://www.a-n.co.uk/artists_talking/artists_stories/sin

gle/61026. Accessed 29/12/12

28

Websites Contunied.

• Source: DCMS, (2012), ‘English Museum and Gallery Visitors - which place was most popular in

2012?’. http://www.guardian.co.uk/news/datablog/2012/oct/01/museum-gallery-visitor-figures-eng

land-data. Accessed 30/12/12 • (Various Articles), http://www.lsnglobal.com. Accessed 28/11/12 • NA, (2011), http://qrmuseum.com. Accessed 07/11/12 • NA, (2011), http://itunes.apple.com/gb/app/lost-in-lace/id473958672?mt=8. Accessed 30/11/12 • Cris, (2010), ‘Fashion Presentations’, http://fashionnotesbycris.blogspot.co.uk/2010/12/fashion-pres

entations.html. Accessed 01/12/12 • Socha, M,. (2011), ‘Museums get fashionable’ http://www.wwd.com/eye/design/fashion-exhibitions-

thrive-at-museums-5388845?full=true. Accessed 30/11/12 • NA, (2012), ‘Hollywood Costume’, http://www.vam.ac.uk/content/exhibitions/exhibition-hollywood-

costume/about-the-exhibition/. Accessed 3/12/12 • Elvin, F, (2011), ‘Revisitng 18th Century Fashion - Review’, http://www.guardian.co.uk/artandde

sign/2011/sep/27/18-century-fashion-versailles-review. Accessed 23/12/12 • NA, ‘The Making: Caroline Broadhead’, http://www.themaking.org.uk/content/makers/2009/11/caro

line_broadhead.html. Accessed 23/12/12 • Snack, R, (2011), ‘Caroline Broadhead’, http://bsixhundredandtwelve.blogspot.co.uk/2011/11/caro

line-broadhead.html . Accessed 23/12/12 • Ashley, (2011), ‘Body Artists’, http://ashleybabeyy.blogspot.co.uk/2011/04/body-artists.html. Accessed 23/12/12 • Polizzi, C, (2010), ‘Culture Meets Fashion at the Italian Cultural Institute’ http://italoeuropeo.com/

news/ue-citizens/277-culture-meets-fashion-at-the-italian-cultural-institute. Accessed 23/12/12 • NA, (2013) https://twitter.com/V_and_A - accessed 06/01/2013 • Slovak, M, (2012), ‘Pink Deletes Her Instagram Account’, http://www.theedge.co.nz/Pink-deletes-her-

Instagram-account/tabid/198/articleID/24889/Default.aspx . Accessed 23/12/12 • Becker, P, (2012), ‘Social Media Statistics for 2012), http://wallblog.co.uk/2012/11/05/social-media-

statistics-2012-from-facebook-and-twitter-to-instagram-and-pinterest-infographic/. Accessed 03/12/12

29

Newspapers, Magazines, Articles and Journals •

• • • •

•

•

O’Neill, A. Clark, J. Frisa, M, Stevenson, N.J. (2008) ‘Fashion Theory: The Journal of Dress, Body & Culture. Fashion Curation, special issue’. London : Berg Publishers.

NA, (2012/2013), ‘The Wired World in 2013’, UK Edition: Condé Nast (2012), Tate etc., Issue 26, Autumn, Forest Stewardship Council (2011), The Art Newspaper, No.223, April, Online Joyce Ray, (2012), “The rise of digital curation and cyberinfrastructure: From experimentation to implementation and maybe integration”, Library Hi Tech, Vol.30 Iss:4 pp. 604-622, Online Rohit Talwar, (2010), “Convention 2020 – The Future of Exhibitions, Meetings and Events: Phase 1 – Pathfinder Report Key Drives and Strategic Challenges”, Convention 2020, Phase 1, Online Sue Allen and Joshua Gutwill, (2004), “Designing Science Museum Exhibits with Multiple Interactive Features:Five Common Pitfalls”, Exploratorium, San Francisco, Online

Videos •

•

•

V&A, (2004), ‘An Interview with Judith Clark’, http://www.vam.ac.uk/content/videos/a/video-an- interview-about-spectres-with-curator-judith-clark/. Accessed 28/10/12 NA, (2011), ‘Louis Vuitton: The Art of Fashion - Exhibition curated by Katie Grand’, http://www.you tube.com/watch?v=-tKfSw4ytmE. Accessed 29/11/12 NA, (2012), ‘18th Century Fashion Exhibition in Versailles | euromaxx’, http://www.youtube.com/ watch?v=eYygzf7R-lQ. Accessed 29/11/12

30

31

image references

1.

Own Image 2.

Catliff, E,. (2012), Chloe, Attitudes Exhibition, http://www.ella-lapetiteanglaise.com/chloe-attitudesexhibition/. Accessed 14/12/12 3.

(2012), ‘Is the Last Ball section with a selection of haute couture ball gowns from the glory days of haute couture. Photo courtesy of the Denver Art Museum’, http://boulderlocavore.com/2012/03/dams-yvessaint-laurent-the-retrospective-exhibit-and-palettes-ysl-pre-fixe-menu.html. Accessed 14/12/12 4.

Kuchler, H,. (2011), ‘Louis Vuitton: a Chinese national treasure?’ http://tilt. ft.com/#!posts/2011-06/21846/louis-vuitton-launches-exhibition-seduce-chinas-growing-wealthy. Accessed 05/01/13 5.

2011,‘An example of Broadhead’s work ‘Back to the Wall’, Tulle and paint’, http://bsixhundredandtwelve.blogspot.co.uk/2011/11/caroline-broadhead.html - accessed 23/12/12. Accessed 05/01/13 6.

Holly, S,. (2012), ‘Hunt’s Steel Dresses’, http://nedelya.wordpress.com/2012/06/18/hunts-steel-dressesand-tony-calzettas-works/. Accessed 02/01/13 7.

Own Image 8.

(2012), ‘Doug Aitken ‘Altered World’’, http://www.wallpaper.com/video/art/altered-earth-installationby-doug-aitken/1967813847001. Accessed 05/11/12 9.

Regnault, C, (2011), ‘Unveiled: Here comes the bride lecture’, http://blog.tepapa.govt.nz/tag/victoriaand-albert-museum/. Accessed 05/01/13 10.

Print screen taken from http://www.vam.ac.uk/. Accessed 02/01/13 11.

Print screen taken from https://twitter.com/V_and_A. Accessed 06/01/13