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'Fashion Autobiography' As a Museum Exhibition

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'Fashion Autobiography' As a Museum Exhibition Title Embedding the personal: the construction of a 'fashion autobiography' as a museum exhibition, informed by innovative practice at ModeMuseum, Antwerp Type Thesis URL http://ualresearchonline.arts.ac.uk/5688/ Date 2012 Citation Horsley, Jeffrey (2012) Embedding the personal: the construction of a 'fashion autobiography' as a museum exhibition, informed by innovative practice at ModeMuseum, Antwerp. PhD thesis, University of the Arts London. Creators Horsley, Jeffrey Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Embedding the Personal: the construction of a ‘fashion autobiography’ as a museum exhibition, informed by innovative practice at ModeMuseum, Antwerp Jeffrey Horsley London College of Fashion, University of the Arts, London Submitted for the award of Doctor of Philosophy April 2012 Supported by the Arts & Humanities Research Council 2 Abstract My intention is to contribute to the field of exhibition-making a repertoire of presentation modes, previously not analysed or documented, that can be applied to the display of fashion in the museum and which will extend those techniques currently available to the exhibition-maker to create meaningful and stimulating exhibition environments. Part 1 contextualises my investigation, through discussion of the exhibition as source material, the methods employed to execute the research and analysis of relevant literature. Part 1 concludes with an introduction to ModeMuseum, Antwerp, which is the primary location for my research. Part 2 details the identification, description and definition of a repertoire of presentation modes, classified and distinguished as innovative through comparative analysis of over 100 exhibitions visited for this research, alongside investigation of the exhibition formats and structures that support deployment of the modes. Part 3 relates the application of the presentation modes to the construction of a ‗fashion autobiography‘ in the form of a proposal for a hypothetical exhibition, through examination of the processes utilised to develop the exhibition narrative and detailed account of the proposal in its final realisation. In conclusion, I will critically reflect on the research executed, underlining the interrelationship of the theoretical and practice-based activities. Finally, I will detail opportunities taken to disseminate this research, and indicate possible directions for continued investigation. 3 4 Contents List of Illustrations 8 Introduction 19 Part 1 Chapter 1 Terminology and the Exhibition as Reference 41 Chapter 2 Situating My Research 73 Chapter 3 ModeMuseum; Collection, Building, Policy 106 Part 2 Chapter 4 Mode2001 Festival and the Exhibition 123 2Women-2Vrouwen Chapter 5 Investigating the Format and Structure of 148 Fashion Exhibitions Chapter 6 Identification, Description and Definition of the 163 Presentation Mode ‘Threshold’ Chapter 7 Identification, Description and Definition of the 189 Presentation Mode ‘Landscape’ Chapter 8 Identification, Description and Definition of the 216 Presentation Mode ‘Object’ Chapter 9 Identification, Description and Definition of the 246 Presentation Mode ‘The Body’ Part 3 Chapter 10 Developing a Fashion Autobiography as a 287 Proposal for a Hypothetical Exhibition Chapter 11 The Hotel Project - a Fashion Autobiography 315 in Printed and Scale Model Form Chapter 12 Application of the Presentation Modes to the 392 Exhibition Lindow Man Conclusion 405 Notes 424 References 429 5 Appendices Appendices are included in the form of pdf documents which can be accessed via the CD included with this thesis. Insert the CD and click on the Appendices 1_2_3 icon. This will open a text which contains links to the Appendices as pdf documents. Appendix 1: Documentation of Practice-based Research Appendix 1 forms an archive of the practice-based research element of this thesis as an annotated version of five wire-bound volumes produced for review meetings with research supervisors. It also includes a photographic record of the Hotel project as realised in graphic and scale model form. Volume 1 - Part 1 Volume 1 - Part 1 illustrates the initial stages in the documentation of my clothing as a collection for study including images of sorting purchase receipts and related ephemera, e-Bay screen grabs recording potential acquisitions and research informing the drafting of the collection inventory. An additional pdf document contains a complete version of the collection inventory from 2000 to 2010. Volume 1 - Part 2 Volume 1 - Part 2 presents the first iteration of ideas that evolved into the themes Rebellion, Identity and The Collector as realised in the final renditions of the Hotel project. Volume 2 Volume 2 records the description of projects that develop narrative ideas identified through the collection cataloguing process. These projects were ultimately abandoned as individual works, but were influential in developing the themes of Conformity, Rebellion, Identity and The Collector in the final renditions of the Hotel project. 6 Volume 3 Volume 3 records the compilation of reference material, including images and texts from multiple sources, in relation to the development of the themes of Flamboyant, The Body, Repetition and The Collector as they appear in the final renditions of the Hotel project. An additional pdf document contains a complete set of images from this stage of research for The Collector. Volume 4 Volume 4 illustrates further development of research material and references towards the graphic rendering of the themes of Rebellion, The Body, Repetition and The Collector as realised in the Hotel project. An additional pdf document contains a complete set of images from this stage of research for The Collector. Volume 5 Volume 5 represents the transition of source material towards the creation of the graphic rendering of the Hotel project including material for the volumes comprising Conformity, The Body, Repetition and The Collector. The Hotel project These images document the graphic and scale model renderings of the Hotel project including preliminary maquettes. Appendix 2: Exhibitions Reviewed Appendix 2 consists of a pdf document that provide a list of all exhibitions reviewed for this research, including those not referenced in the text, and a further pdf which contains images from some of those exhibitions reviewed. Appendix 3: Thesis A pdf version of the complete illustrated thesis text. 7 List of Illustrations Illustration Page Introduction Figs. Intro. 1, Intro. 2 Installation views, Addressing the Century. 32 Part 1 Chapter 1 Fig. 1.1 Notes taken during a visit to the exhibition 59 Katharina Prospekt. Fig. 1.2 Notes taken during a visit to the exhibition 59 Malign Muses. Fig. 1.3 Illustration from the catalogue to the exhibition 65 Ouverture pour Inventaire. Fig. 1.4 Illustration from the catalogue to the exhibition 65 Garderobes. Chapter 2 Fig. 2.1 Messel family scrapbook showing newspaper cuttings 97 reporting the wedding of Anne and Michael Rosse. Fig. 2.2 Note inserted into dress storage box by the wearer, 97 Anne, Countess of Rosse. Chapter 3 Fig. 3.1 Exterior of the ModeNatie from Nationalestraat. 110 Fig. 3.2 View of the MoMu exhibition gallery. 112 Fig. 3.3 The ModeNatie atrium, with stairs to the MoMu 112 exhibition gallery. Fig. 3.4 Plan of the MoMu exhibition gallery, showing the two 114 axial wings and the rotunda. 8 Part 2 Chapter 4 Fig. 4.1 The entrance to 2Women-2Vrouwen. 130 Fig. 4.2 La Chambre des Tailleurs. 130 Fig. 4.3 La Chambre des Bijoux. 132 Fig. 4.4 Installation of Rei Kawakubo‘s ‗statements‘. 132 Fig. 4.5 La Chambre des Secrets. 135 Fig. 4.6 La Chambre No5. 135 Fig. 4.7 La Chambre Mademoiselle. 138 Fig. 4.8 La Chambre du Style. 138 Chapter 5 Fig. 5.1 Plan of 2Women-2Wrouwen. 159 Fig. 5.2 Plan of Bernhard Willhelm. 159 Fig. 5.3 Plan of Genovanversaeviceversa. 159 Fig. 5.4 Plan of Malign Muses. 159 Chapter 6 Fig. 6.1 Installation view of the exhibition The House of Viktor & 166 Rolf, showing the convention of introductory text panel to demarcate the exhibition entrance. Fig 6.2 Installation view of the exhibition Hussein Chalayan: 166 Fashion Narratives showing the convention of introductory text panel and iconic object – one of Chalayan‘s ‗buried‘ dresses – to demarcate the exhibition entrance. Fig. 6.3 Wedding dress by Yohji Yamamoto announces the 169 designer‘s exhibition in the MoMu atrium. Fig. 6.4 Large-scale photographic image and change of wall 169 Colour denote the entrance to Land Girls: Cinderellas of the Soil. Fig. 6.5 Entrance to Dangerous Liaisons: Fashion and Furniture 173 in the Eighteenth Century 9 Fig. 6.6 Entrance to Anglomania: Tradition and Transgression 173 in British Fashion. Fig. 6.7 Construction announcing Maison Martin Margiela 176 ‘20’ The Exhibition in the MoMu atrium. Fig 6.8 Introductory text panel for the exhibition Maison 177 Martin Margiela in the corridor leading to the exhibition space. Fig. 6.9 Opening installation of the exhibition Maison 177 Martin Margiela. Fig. 6.10 Threshold construction for the exhibition 179 Bernhard Willhelm: Het Totaal Rappel. Fig. 6.11 Threshold construction for the exhibition 179 Katharina Prospekt: The Russians by A. F. Vandevorst. Fig. 6.12 Threshold construction for the exhibition 183 Genovanversaeviceversa. Fig. 6.13 Threshold construction for the exhibition 183 Malign Muses: When Fashion Turns Back. Chapter 7 Fig. 7.1 Installation view of Future Beauty: 30 Years of 193 Japanese Fashion. Fig. 7.2 Installation view of Vivienne Westwood. 193 Fig. 7.3 Installation view of Dangerous Liaisons: Fashion 195 and Furniture in the Eighteenth Century. Fig. 7.4 Installation view of Anglomania: Tradition and 195 Transgression in British Fashion. Figs. 7.5, 7.6 Installations views of Grès: Couture à L’Oevre. 198 Fig. 7.7 Installation view of Malign Muses: When Fashion 201 Turns Back, showing the section Locking In and Out. Fig. 7.8 Installation view of Katharina Prospekt: The Russians 201 by A.
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