Dressing the Screen Event Brochure

Dressing The Screen Одевая экрана Dressing the Screen The Rise of Fashion Film

Curated by Kathryn Ferguson Designed by Serie Architects

October December 2014

Exhibition Venue Address 123 Moscow, Россия

Exhibition Curator: Kathryn Ferguson UK Project Manager: Kendall Martin-Robbins, British Council London Russian Project Manager: Evgenia Gerasimova, British Council Russia Exhibition Designer: Serie Architects

About the British Council: The British Council is the UK’s international organisation for cultural relations. We build engagement and trust for the UK through the exchange of knowledge and ideas between people worldwide.

With thanks to: All of the designers and filmmakers included in the exhibition; Julia Gordina, British Council Russia; Evonne Mackenzie, Alex Bratt and Mary Doherty, British Council London; Alison Moloney; Julian Roberts; BFI National Archives;

The British Council’s global arts team works with the best of British creative talent to develop innovative, high-quality events and collaborations that link thousands of artists and cultural institutions around the world, drawing them into a closer relationship with the UK.

This guide has been published to coincide with Dressing the Screen: The Rise of Fashion Film.

The Architecture, Design, Fashion department develops exhibitions, seminars, workshops, collaborative projects, educational initiatives and specialists’ visits to the UK in conjunction with our colleagues and partners in over 100 countries. We also provide information on British architecture, design and fashion across the globe. http://backoftheenvelope.britishcouncil.org/ Follow us on twitter @british_design

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Dressing the Screen: The Rise of Fashion Film Exhibition Centre 23 Russian Road 4 Moscow, Russia October - December 2014

About the British Council The British Council is the UK’s international organisation for cultural relations. We build engagement and trust for the UK through the exchange of knowledge and ideas between people worldwide.

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The British Council’s global ar ts team works with the best of British creative talent to develop innovative, highquality events and collaborations that link thousands of ar tists and cultural institutions around the world, drawing them into a closer relationship with the UK. The Architecture, Design, Fashion depar tment develops exhibitions, seminars, workshops, collaborative projects, educational initiatives and specialists’ visits to the UK in conjunction with our colleagues and partners in over 100 countries. We also provide information on British architecture, design and fashion across the globe. http://backoftheenvelope.britishcouncil.org/ Follow us on twitter @british_design

введение // Introduction Туалетная экрана: Восстание Fashion Film объединяет работу некоторых из самых известных и инновационных мировых модельеров и режиссеров из последних 75 лет.

Dressing the Screen: The Rise of Fashion Film brings together work by some of the world’s most famous and innovative fashion designers and film-makers from the last 75 years.

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Лондон, по мнению многих, чтобы быть местом рождения моды фильма и до сих пор центром деятельности сегодня. Туалетная экрана исследует происхождение, историю и новаторскую роль, что британские режиссеры и дизайнеры сыграли в развитии среды.

Квант, а на следующий рассматривает новаторских работу женщин режиссеров и как они реагируют на съемки женское тело с работой Мари Шуллер, Сара Piantadosi и Аманда Бойл для Mulberry.

Это Выставка графики эволюции моды фильма в трех основных разделов. Первый включает в себя предварительно интернет эксперименты, такие как ранние фильмов Осси Кларк, Zandra Родос и Мэри

London is considered by many to be the bir th place of fashion film and it is still the centre of activity today.

Dressing the Screen explores the origins, history and pioneering role that British filmmakers and designers have played in the development of the medium.

This exhibition char ts the evolution of fashion film in three main sections. The first comprises pre-internet experiments such as the early films of Ossie Clark, Zandra Rhodes and Mary Quant; the next examines the ground breaking work of female filmmakers and how they respond to shooting the female body with work by Marie Schuller, Sarah Piantadosi and Amanda Boyle for Mulberry.

Dressing the Screen concludes with the very latest advances in fashion film, showcasing visionary technological innovations by filmmakers including Sølve Sundsbø, Bar t Hess, SHOWstudio’s Nick Knight and Ruth Hogben, Quentin Jones and Henry Holland.

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Looking Back: The Rise of Fashion Film 1938 – 1999

Norman Hartnell, Humphrey Jennings, Sam-Napier Bell, Mary Quant, Jaeger, Ossie Clark, Zandra Rhodes, Peter Greenaway, Doug Wilcox, Paul Spencer, Vivienne Westwood.

Pitti 2011 A Film by Gareth Pugh & Ruth Hogben

Pitti 2011 Этот фильм режиссер Gareth Pugh & Ruth Hogben

В этом разделе рассматриваются эволюцию моды кино с 1938 до конца ХХ века, период, характеризующийся огромными инноваций в сфере массовых коммуникаций. Сразу после Второй мировой войны, такие технологии, как кино, телевидения и радио процветала. Отрезанные от столиц моды Париже и Нью-Йорке, британские дизайнеры начали экспериментировать с пленкой; обнимая среду как способ продвижения своей работы в аудитории по всему миру в беспрецедентных масштабах.

молодежной культуры. Телевидение и кино распространить слово на международном уровне и дизайнеры, такие как Осси Кларк и Мэри Квант производится короткометражные фильмы, полные ошеломительно изображений, которые прекрасно инкапсулирующих эпоху.

К 1960 Лондон был твердо на модной карте. Британский музыки, кино и моды стала неразрывно связана в период поразительной творчества отмечен расцветающей моды подкованных

This section explores the evolution of Fashion Film from 1938 to the end of the twentieth century, a period marked by huge innovations in mass communications. In the immediate aftermath of the World War II, technologies like film, television and radio flourished. Cut off from the fashion capitals of Paris and New York, British designers began experimenting with film; embracing the medium as a way of promoting their work to audiences worldwide on an unprecedented scale.

By the 1960s London was firmly on the fashion map.

British music, film and fashion had become intrinsically

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linked in a period of astounding creativity marked by a burgeoning fashion-savvy youth culture. Television and film spread the word internationally and designers such as Ossie Clark and Mary Quant produced shor t films full of stunning fashion images that perfectly encapsulate the era.

The next major innovation in fashion film was arguably borne out of the club culture

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Filming the Future

Bart Hess, National Glassmuseum in Netherlands, Sølve Sundsbø, W Magazine, Nick Knight.

I want muscle A Film by Elisha Smith Leverock, Winner of the ASVOFF Grand Prix 2011

Я хочу мышцы Этот фильм режиссер Elisha Smith Leverock, Победитель ASVOFF большой приз 2011

Современной моды фильм революция пришла в полную силу, когда британский дизайнер Гарет Пью представил свою осень / зима 2009 коллекция исключительно через пленку. Его сотрудничество с Рут Хогбен играли перед живой аудиторией во время Недели моды в Париже и одновременно транслироваться на SHOWstudio.

В последующие годы мода охватила фильм, как никогда раньше и вирусные моды фильмы и презентации начали оспаривать и даже заменяют подиуме шоу, как лучшее средство дизайнера продвижения своей работы.

The contemporary fashion film revolution came to full force when British designer Gareth Pugh presented his Autumn/Winter 2009 collection solely through film. His collaboration with Ruth Hogben was played to a live audience during Paris Fashion Week and simultaneously streamed on SHOWstudio.

In the subsequent years fashion has embraced film like never before and viral fashion films and presentations have begun to challenge and even supersede the catwalk show as a designer’s best means of promoting their work.

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В этом разделе выставки отличает очень передний край моды фильма. Часто сами одежды были низведены до роли поддержки, как кинематографисты выйти за рамки традиционных представлений моды по отношению к фильмам, управляемых повествования и понятий, сформированных новых технологий.

This section of the exhibition features the very cutting edge of fashion film. Oftentimes the clothes themselves have been relegated to a suppor ting role, as filmmakers move beyond traditional representations of fashion towards films driven by narrative and concepts shaped by new technologies.