A Textile Couture Experience

A TEXTILE COUTURE EXPERIENCE

CHEENA NICOLE RAIFORD CCA+D MASTER OF ARTS EXHIBITION DESIGN THESIS/EX7900/STUDIO B SPRING 2013/SP01 MAY 2013 CLASH: A Textile Couture Experience

Cheena Nicole Raiford

A Thesis Submitted to the Graduate Faculty of Corcoran College of Art + Design in Partial Fulfillment of The Requirements for the Degree of Master of Arts Exhibition Design

Committee:

______Thesis Advisor Selma Thomas

______Department Chairperson Clare Brown

______Provost Catherine Armour

Date: May 2013

Corcoran College of Art + Design Washington, D.C. CHEENA NICOLE RAIFORD CCA+D MASTER OF ARTS EXHIBITION DESIGN THESIS/EX7900/STUDIO B SPRING 2013/SP01 MAY 2013

A TEXTILE COUTURE EXPERIENCE

clash: a textile couture experience

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Corcoran College of Art and Design

Cheena Nicole Raiford Bachelor of Arts Norfolk State University, December 2007

Advisor: Selma Thomas Adjunct Professor

Spring Semester 2013 Corcoran College of Art + Design Washington, D.C. CHEENA NICOLE RAIFORD CCA+D MASTER OF ARTS EXHIBITION DESIGN THESIS/EX7900/STUDIO B SPRING 2013/SP01 MAY 2013

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DEDICATION

I dedicate this project to my fellow fashionistas, art enthusiasts, and all individuals that are soul believers of standing out from the norm, striving to be uniquely different.

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acknowledgements

First and foremost, I would like to thank my mom, Loretta W. Raiford & my father, the late Calvin A. Raiford for giving me the two main substances for this project: the appreciation for the textile & visual arts. I graciously and sincerely appreciate the support from all members of the Walker-Raiford Family, close friends, Corcoran staff & classmates.

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PREFACE

Through my recent excursions around the District of Columbia area, I have notice two things that are constantly evolving; its art scene and the sense of style amongst its residents. With that observation, I wanted to create and dedicate a project that would allow the public to put aside their “academic” beliefs of “good art” or “stylish fashion” and move forward through this exhibition with a new set of eyes. As a society, we are given the right to follow our own instinct and formulate our own opinions. And CLASH: A Textile Couture Experience, visually allows the visitor to do so and engage in conversation with others where the exchange of ideas, concepts, and knowledge could lead to infinite creative possibilities.

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A TEXTILE COUTURE EXPERIENCE table of contents Title 2

Mission Statement 3

Teaching Points 4

Public Programming 5

Audience 7

Venue 8

Exhibition Content Narrative 15

Exhibition Resources 22

Story Content Outline 28

Visitor Experience 30

Content & Visitor Diagrams 32

Appendix 1: Research Plan 33

Appendix 2: Bibliography 34

Appendix 3: Artists & Designers Biographies 38

Appendix 4: Illustrations 52 CHEENA NICOLE RAIFORD CCA+D MASTER OF ARTS EXHIBITION DESIGN THESIS/EX7900/STUDIO B SPRING 2013/SP01 MAY 2013

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abstract

clash: a textile couture experience

Cheena Nicole Raiford, Masters of Arts Exhibition Design Corcoran College of Art + Design, 2013 Thesis Advisor: Veronica Jackson

CLASH: A Textile Couture Experience is an exhibition based on the concept of how the academic population dictates the common public perception of what is “acceptable” and “unacceptable” within our society. Art and fashion are prime examples of this “issue” because both allow for individual opinion, cultural diversity, and self-expression to demolish this outdated stigma.

CLASH is designed to present itself as a self-contained traveling exhibition and is strongly influenced by each designated venue, public programming and its audience. The exhibition is created to travel internationally and “pop-up” within the hosting cities during Fashion Week, where the average timeframe for display is two weeks. The exhibition will showcase the works/designs of the following artists and designers: Nick Cave, Yinka Shonibare MBE., Issey Miyake, Nicola Fomichetti, and Reuel Riddick. CHEENA NICOLE RAIFORD CCA+D MASTER OF ARTS EXHIBITION DESIGN THESIS/EX7900/STUDIO B SPRING 2013/SP01 MAY 2013

A TEXTILE COUTURE EXPERIENCE

Title Clash: A Textile Couture Experience was selected as the title of this exhibition based on the concept of how the academic population dictates the common public perception of what is “acceptable” and “unacceptable” within our society. Art and fashion are prime examples of this “issue” because both allow for individual opinion, cultural diversity, and self-expression to demolish this outdated stigma.

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mission statement CLASH: A Textile Couture Experience is a highly thematic collaborative exhibition featuring multicultural textile artist and fashion designers. The purpose of this exhibition is to create an engaging conversation with the interested public, where individual opinion, cultural diversity, and self-expression are used as tactics to discourge the stigma of what is acceptable and unacceptable within the world of fashion and art.

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teaching points • CLASH: A Textile Couture Experience will define and give a brief introduction to both the terms,“contemporary art” and “fashion”.

• CLASH: A Textile Couture Experience will exhibit how fashion is interpreted worldwide as a form of cultural and social expression.

• CLASH: A Textile Couture Experience will encourage individual interpretation of “Academic Art” and “Stylish Fashion” by introducing the visitor to several diverse artists/designers, how each artist/designer interprets their craft, and visual examples of that interpretation.

• CLASH: A Textile Couture Experience will promote the awareness of society’s concept about the sense of now by incorporating visual examples of how culture (historical, popular, etc) affects one’s preception of their everyday life.

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public programming To further interpret the content and the mission of the exhibition, additional public programming and digital components have been considered to enhance the visitor experience.

• Nick Cave Flash Mob: This event will be used as part of the collateral plan to launch the CLASH: A Textile Couture Experience. The details will be given through social media (Facebook, twitter, instagram, etc.) for the public to meet at a determine date, time, and place wearing their interpretation of a Nick Cave’s Soundsuit. This event will help the visitor to become more personal with the exhibition and engage in conversation with other visitors about their individual interpretation of art.

• Guest lecture series/panel discussions: Lecture series/panel discussions will be given at the space focusing on one particular artist from the exhibition. The lecture will be given either by the artist/designer themselves or by an art curator/fashion editor that has worked closely with or is knowledgeable of the proposed topic.

• Juried competition for an amateur artist/fashion designer: This competition will allow the public to be introduced to one upcoming artist and/or one designer from each hosting city of the exhibition (a maximum total of two winners), who will be selected by the artists/designers featured within the exhibition. Each new artist/designer that is selected will have 2-3 of their works, biography and artist statement displayed within the exhibition.

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public programming Digital Presence

• Online Exhibition Page/Catalog will be used as a source for the public to access general information about the exhibition, artist/designers/works featured, and video clips of artist/designer interviews, press, and links to social media pages, a public blog/forum for the public to ask questions pertaining to fashion, art, and social/cultural expression.

• Social Media will be used as a source for advertising the exhibition, updating the public about “happenings” pertaining to the exhibition, images, etc.

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Audience The intended audience for the CLASH: A Textile Couture Experience exhibition is determined by the content of the proposed exhibition and is geared towards fashionistas/fashion-forward individuals and textile enthusiasts. The general public is the secondary audience of choice due to the proposed “pop-up “design and concept of the exhibition, as well as the intentional use of a familiar space to house the exhibition. The age, gender, education status, etc. for this exhibition can vary, since the artists/designers chosen have been selected to attract various types of visitors, as well as the nature of the intended location/venue areas.

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Venue This exhibition will be incorporating the use of the “pop-up” concept for the actual exhibition space. The exhibition will be housed within a retail/commerical space instead of a traditional museum or gallery, that can accommodate the 3-D content of the exhibition. This exhibition will be able to cater to areas with at least 200 square feet. While the concept will be consistent, the actual location/ space/ content will change with the consideration of this being designed as a “traveling exhibition”.

This exhibition will be potentially traveling to the following cities/countries that participate in Fashion Week or have areas of dedicated to fashion (garment district): New York, Los Angles, District of Columbia, Miami, London, Paris, Milan, Madrid, Johannesburg, and Tokyo. The District of Columbia will be used as an example of diverse retail areas that this exhibition could encounter during its travels. The potential local areas that would complement the contents of the exhibition would be Logan Circle, Downtown DC, and Georgetown.

All three areas are considered local fashion districts and/or areas dictated to art and culture. All three areas are examples of how historic and popular points of interest have been revitalized and modernized to cater to today’s society.

The individual venues will be selected based on the following requirements listed below • Minimum area of 1,000 Sq. feet; Maximum area of 3,500 Sq. feet • Ceiling height of 10-15 feet • Storefront display area must be 15-20 feet in width and at least have a starting height of 12 feet.

The next few pages will give information about each fashion/garment area (stats/map), venue address/description, and exterior/interior views (if applicable). The statistic information will vary but each will include the “Walk Score” (is a number between 0 and 100 that measures the walk-ability of any address), population stats, monetary information, etc.

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Venue - downtown D.C. Area Map of Chinatown-Downtown D.C.

Figure 1.1 Above, the intersection of 7th Street and H Street N.W., located at Gallery Place-Chinatown Metro Station in Downtown Washington, D.C. 1. Photo Courtesy of Washington, D.C. EconomicPartnership.

Snapshot Downtown DC • Walk Score 95 Walker’s Paradise • Shoppers’ goods retail demand of $870 million from residents, office workers and visitors, and only $280 million of current supply • 221,000 people in Downtown DC on weekdays • $100,000+ incomes can be found in 69% of the 6,300 residents living within 5 blocks of 9th & G Streets • 64,000 people in Downtown DC on weekend days • 56,000 residents and 420,000 office workers within 15 blocks of 9th & G Streets

• 10 million convention, cultural and entertainment Figure 1.2 Above, Area map of Chinatown-Downtown D.C. in Downtown Washington, D.C. 2. Photo Courtesy of Washington, D.C. Economic Partnership. visitors are drawn to Downtown DC annually1

1 http://www.wdcep.com/dc-profile/neighborhoods/downtown-dc/

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Venue - h & m retail store Downtown DC H & M 1025 F Street, NW. Washington, D.C. DC 20005 www.hm.com/us

Figure 2.1 Above, Exterior view of H & M Retail Store located at the intersection of 11th Street and F Street, N.W. in Downtown Washington, D.C. 3. Photo Courtesy of Flickr on Yahoo.

Figure 2.2 Above, Interior view and display arrangement of a typical H & M Figure 2.3 Above, Interior view and display arrangement of a typical H & M Retail Store. 4. Photo Courtesy of Flickr on Yahoo. Retail Store. 5. Photo Courtesy of Flickr on Yahoo.

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Venue - georgetown

Area Map of Georgetown

Figure 3.1 Above, The intersection of M Street and Wisconsin Avenue N.W., located within the Georgetown area of Washington, D.C. 6. Photo Courtesy of Washington, D.C. Economic Partnership.

Snapshot Georgetown • Walk Score 95 Walker’s Paradise • Georgetown is the heart of upscale and spe- cialty boutique shopping — from international to local retailers • The DC Circulator bus system operates two lines through Georgetown, linking it to Down- town, Union Station, M Street, Dupont Circle and Rosslyn, VA • The neighborhood is serviced by the George- town BID • Georgetown is a designated DC Historic Dis- trict, which enables qualified property owners to access incentives to rehabilitate their space • 3.6 million sq. ft. of office space, caters to Figure 3.2 Above, Area map of Georgetwon in Washington, D.C. 7. Photo Courtesy of an estimated 18,000 office, retail, hotel and Washington, D.C. Economic Partnership. restaurant staff • 1,000 hotel rooms are in Georgetown, including the five-star rated Four Seasons hotel and a modern, boutique Ritz Carlton Hotel.1

1 http://www.wdcep.com/dc-profile/neighborhoods/georgetown/

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Venue - suitsupply Georgetown Suitsupply 2828 Pennsylvania Avenue, NW. Washington DC 2007 http://us.suitsupply.com

Figure 4.1 Above, Exterior view of Suitsupply Retail Store located at the intersection of Pennsylvania Avenue and 28th Street, N.W. in the Georgetown area of Washington, D.C. 8. Photo Courtesy of Por Homme.

Figure 4.2 Above, Interior view and display arrangement of a typical Figure 4.3 Above, Interior view and display arrangement of a typical Suitsupply Retail Store. 9. Photo Courtesy of Suitsupply. Suitsupply Retail Store. 10. Photo Courtesy of Suitsupply.

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Venue - logan circle

Area Map of 14th & U Streets/Mid-city

Figure 5.1 Above, Aerial view of 14th Street, N.W. located within the Logan Circle area of Washington, D.C. 11. Photo Courtesy of Washington, D.C. Economic Partnership.

Snapshot 14th & U Streets/Mid-city • Walk Score 91 Walker’s Paradise • U Street was named one of the 2011 Great Places in America by the APA • Mid-city offers a diverse mix of home furnishings and accessory stores, fine dining and entertainment, unique shops and galleries • 64% of residents 25+ have a bachelor’s degree or higher • 50% of the population is 20–34 years old • 14th & U/Mid-city is a designated DC Historic District, which enables qualified property owners of contributing commercial properties to access tax credits and other incentives to rehabilitate their space1 Figure 5.2 Above, Area map of 14th and U Street/MidCity area in Washington, D.C. 12. Photo Courtesy of Washington, D.C. Economic Partnership.

1 http://www.wdcep.com/dc-profile/neighborhoods/u-street-corridor/

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Venue - universal gear Logan Circle Universal Gear 1529B 14th Street NW Washington, DC 20005 www.universalgear.com

Figure 6.1 Above, Interior view of Universal Gear Retail Store located on the 1500 block of 14th Street, N.W. in the Logan Circle area of Washington, D.C. 13. Photo Courtesy of Studio.

Figure 6.2 Above, Interior view and display arrangement of Universal Gear Retail Store. 14. Photo Courtesy of Studio.

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A TEXTILE COUTURE EXPERIENCE exihibition content narrative Introduction to Contemporary Art and Fashion Design The visitor will be introduced to Contemporary/Conceptual Art and Fashion Design by a brief explanation of both topics and academic characteristics of depicting both topics visually, as well as theoretically.

Contemporary/Conceptual Art Definition

Before interpreting the two subjects, one must first understand that Modernism was an artistic movement that greatly affected societal views towards the art, primarily within Western civilization. According to most art historians, modernism was a critical moment within the arts that allowed for “stylistic and institutional breaks with the academic (and classical) tradition”.1 The debate of how to theoretically explain modernism has been a continuous conversation based on every component that has influenced the movement. The movement was influenced through “social commentary, self-conscious investigation of cultural and aesthetic terms of art making”2, and the idea that art was the appropriate “image of modernity but also [be seen as an] independent”3 contributor to this movement.

Contemporary/Conceptual art, academically are considered two distinct components that were derived from Modern art or Modernism (at times, the result of Post-modernism). Both components were formed at different times during the time frame of the late 1940’s to the present. With modernism serving as the basic structure and according to Johanna Drucker, contemporary art has been striving to “formulate an implicitly historical project when one is explicitly attempting to distance itself from idea of historical projects…”4 The strategic process of formulating postmodernism as a period, helped to further define a few theories or concepts within contemporary art. The stages included the recognition of antimodernism; which was the result of steering away from more traditional forms of art in order to make way for more innovative forms; presenting a quotational flare and contradictory attitude towards traditional Western culture; the infusion of different cultures; the confrontation of Western innuendos towards postcolonial topics; and the acknowledgement and pride of one’s culture, as well as the outcomes of doing so.5

1 Johanna Drucker, et al. "Modernism." Encyclopedia of Aesthetics. Oxford Art Online. Oxford University Press, accessed November 14, 2012, http://www.oxfordartonline.com/subscriber/article/opr/t234/e0358. 2 Ibid. 3 Ibid. 4 Ibid. 5 Ibid.

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A TEXTILE COUTURE EXPERIENCE exihibition content narrative Conceptual art is the other component that came out of modernism/post-modernism, and according to Yair Guttman’s article titled “Conceptual Art & Philosophy”, conceptual art has been defined by two different theories. He explains that the more general definition considers conceptual art to be a movement that existed during the late 1960’s to the late 1970’s1 and the second, refers to it as an “artistic undercurrent”2 during the same period of the former but those that contributed to the movement, believed that all “perceived notions and presuppositions”3 should be considered before attempting to “expand the range of artistic activities, [as well as to] emphasize the continuity between their artistic activities and various philosophical, political, and sociological activities.”4 A few characteristics that helped to categorize conceptual art as a movement was that it followed the antiformalist ideology of the minimalist; a concept that was strongly geared towards keeping the art object as part of its context, by deaestheticizing the artwork, it allowed for the attention to detail to focus more on the installation of the art; the creation of predetermined conditions to allow the art to be viewed and interpret in a different format; the determination to create or find a common use of “grammar” within art which required the artwork to have a “support language” for better interpretation.5

Fashion Design Definition

“Beyond its primary functions of determining how people should look and providing pleasure, it has also served as a catalyst for the economy, uniting the two opposite poles of contemporary culture: the desire for creativity and the need for production.”6 This statement from François Baudot, author of Fashion: the Twentieth Century, is just one of many used to define fashion. Fashion is a massive topic and industry that has several subcategories to help further define it. Two major categories of fashion would be the “world of couture… [and] clothes manufactured for the masses.” Haute couture or high fashion, according to Richard Martin, author of the article “La Haute Couture”, describes haute couture fashion as “basic design…developed in an evolutionary manner…worked out by artisan and client…”7 The beginnings of haute couture fashion spans back as far as the early 1800s and has been deemed as a design concept created by the French, which at that time, focused on the construction of women clothing. 8 Since its creation, haute couture fashion has transformed itself from a simple tailor-client concept to a direction that is now highly publicized, as well as acceptable amongst the masses who could afford it.9 This acceptability allowed the ready-to-wear industry to flourish to a point when haute couture was on the decline.10 Designers of the haute couture clan, has helped to revive themselves by creating mass-produced garments as well, but also to allow them to be widely profitable.11

1 Alexander Alberro, et al. "Conceptual Art." Encyclopedia of Aesthetics. Oxford Art Online. Oxford University Press, accessed November 13, 2012, http://www.oxfordartonline.com/subscriber/article/opr/t234/e0126. 2 Ibid. 3 Ibid. 4 Ibid. 5 Ibid. 6 François Baudot. Fashion : the Twentieth Century /. Rev. ed. Universe,, 2006, 11. 7 Anne Hollander, et al. "Fashion." Encyclopedia of Aesthetics. Oxford Art Online. Oxford University Press, accessed November 13, 2012, http://www.oxfordartonline.com/subscriber/article/opr/t234/e0206. 8 Ibid. 9 Ibid. 10 François Baudot.. Fashion : the Twentieth Century /. Rev. ed. Universe,, 2006, 16-17. 11 Ibid,18. CLASH A TEXTILE EXPERIENCE 16 of 55 CHEENA NICOLE RAIFORD CCA+D MASTER OF ARTS EXHIBITION DESIGN THESIS/EX7900/STUDIO B SPRING 2013/SP01 MAY 2013

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Just like contemporary/conceptual art, fashion has its skeptical critics amongst the art community in regards of defining itself as art. Within art, fashion is defined as the “anthropocentric art whose form is partly predetermined or fixed to the options of the human body.”1 The fashion community has the same issues with creditability as modern art since it’s consider to have the perfect blend of both self- expressions and society, in addition to being discredited due to the commerce.2 On a philosophical level, fashion conceptualizes the relationship “between fashionable dress and the [human] body.”3 Anne Hollander quotes Charles Baudelaire’s The Painter of Modern Life and Other Essays by stating that this relationship is “one of the signs of the primitive nobility of the human soul…in the direction of Beauty, some kind of approximation to an ideal for which the restless human mind feels constant, titillating hunger.”4 In order to study this phenomenon, Charles Barthes’ The Fashion System helps proves Hollander’s case. She explains that his method included process of pictures, detailed descriptions, and magazines, in order to create a “statements of Fashion” and the “mental model” of it.5

Artists/Designers CLASH: A Textile Couture Experience will contain works/pieces at least one highly acclaimed contemporary textile artist and couture fashion designer as a showcase, as well as, six upcoming artist/ designers, two of which would be a student artist or couture fashion designer that are local within each city of each venue.

The artists and designers are being used as visual examples of how both art/fashion are used as forms of social & cultural expression. The artists and designers biographies, statements, creative processes are being provided, in order for the visitor to see an individual interpretation within art & fashion as social and cultural components.

Nick Cave Artist Statement/Creative Process Nick Cave, an American born multidisciplinary artist, was born February 4, 1959 in Fulton, Missouri and currently lives, as well as in Chicago, IL. Nick Cave’s Soundsuits were chosen for the purpose of this exhibition and will be displayed as visuals to reflect the mission statement. His Soundsuits are considered to be Nick Cave’s signature pieces and are full-bodied suits that are constructed out of random material and/or objects that are meant for performance purposes, as well as, static poses.6

1 Anne Hollander, et al. "Fashion." Encyclopedia of Aesthetics. Oxford Art Online. Oxford University Press, accessed November 13, 2012, http://www.oxfordartonline.com/subscriber/article/opr/t234/e0206. 2 Ibid. 3 Ibid. 4 Ibid. 5 Ibid. 6 Naomi Beckwith . "Cave, Nick." Grove Art Online. Oxford Art Online. Oxford University Press, accessed November 16, 2012, http://www. oxfordartonline.com/subscriber/article/grove/art/T2220510.

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A TEXTILE COUTURE EXPERIENCE exihibition content narrative Through a one-on-one interview with Kate Eilertsen for his catalog Meet Me at the Center of the Earth, the artist explains his feelings towards art, his description of his Soundsuits, and his artistic process. When Eilertsen asked about his exhibition Meet Me at the Center of the Earth and an explanation of this exhibition, Nick Cave explains his opinion of the arts. He states that: The arts are our salvation—the only thing that allows us to heal and also helps us dream about what will make the world a better place. With this exhibition, I hope to provide a place for dreaming…that the people…will be transported to another world…a catalyst of change and hope…”1

Eilersten later asks the artist to explain his concept behind his famous Soundsuits and he states that: I just love making them and almost never know how they will come out when I begin. I love surrounding myself with the materials I’ve collected, the ideas I’ve been thinking about, and then marrying the supplies with the concept.2 My Soundsuits allow identities to be lost or hidden and new ones to be claimed.3

And when asked “What is it like to wear one of your Soundsuits?” Nick Cave states: You just can’t put a Soundsuit on right away…You have to have a conversation with the suit first...come at it with conviction…bring the fragments together through contemplation…You will be surprised…when the suits are motion, the sounds they make give them a magical life of their own.4

Nick Cave’s artistic process for any of his work is carefully thought out and very Inspirational from every aspect of life including carnival costumes, fashion, theatre, and Queer ball culture .5 In Naomi Beckwith’s article about the artist, she mentions that “Cave’s works take on a performative element, fostering a visual and bodily relationship with the viewer…using found materials [and ] Utilizing craft…elevates culturally devalued objects…and displays of identity and power.”6

1 Kenneth J. Foster. Nick Cave: Meet Me at the Cetner of the Earth. San Francisco, CA: Yerba Buena Center for the Arts, 2009,231. 2 Ibid, 231. 3 Ibid, 231. 4 Ibid, 231. 5 Naomi Beckwith . "Cave, Nick." Grove Art Online. Oxford Art Online. Oxford University Press, accessed November 16, 2012, http://www. oxfordartonline.com/subscriber/article/grove/art/T2220510. 6 Ibid.

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Yinka Shonibare, MBE Artist Statement/Creative Process Yinka Shonibare, MBE, a Nigerian born multidisciplinary artist, was born August 9, 1962 and grew up simultaneously between Lagos, Nigeria and United Kingdom.1 The artist has focused his career throughout drawing, film, installation, painting, photography, and sculpture. The artist interprets various subjects, including “colonialism and post-colonialism within the contemporary context of globalization”2, race, social status, and literature. He uses these topics as a foundation to examine “the construction of identity…interrelationship[s] between Africa and Europe…[as well as] their respective economic and political histories.”3

In the catalog for the exhibition, Looking Both Ways: Art of the Contemporary African Diaspora, Nigerian born American curator and writer, Okwui Enwezor interviewed the artist in regards to his work and his handling of the subjects that relate Africa and Europe, visually. Enwezor, automatically starts the interview by asking the artist how the relationship between the two countries has affected this work over the past ten years? Yinka Shonibare, MBE answers by stating: ….that there is some kind of dichotomy between Africa and Europe—between the “exotic other” and the “civilized European”….I’m interested in exploring the mythology of these two so-called separate spheres, and in creating an overlap of complexities.4

For this exhibition, several of the artist’s sculptures will be displayed, in order to show how social content influences art. The artist is known for his signature and considerate use of “Dutch-wax” dyed African-print fabric (or batiks) that are interweaved within and throughout his works. The African-print “batiks” originated from Indonesia, once a colony of the Dutch, and is manufactured in Holland and Britain.5 In the case of the artist, the fabrics represent the European and African connection, where the fabrics served as “a signifier of authentic African Identity,..1960s de- colonization, and the rise of the Pan-African nationalism.”6

1 Rachel Kent, Robert Carleton Hobbs, Anthony Downey, and N.S.W.) Museum of Contemporary Art (Sydney. Yinka Shonibare MBE. Berlin; London: Prestel, 2008, 216. 2 Ibid, 216. 3 Ibid, 216. 4 Laurie Ann Farrell, and Museum for African art (New York). Looking both ways. New York; Gent: Museum for African art ; Snoeck, 2003, .12 5 Andrew Cross and Mary Chou. "Shonibare, Yinka." Grove Art Online. Oxford Art Online. Oxford University Press, accessed November 16, 2012, http://www.oxfordartonline.com/subscriber/article/grove/art/T097086. 6 Rachel Kent, Robert Carleton Hobbs, Anthony Downey, and N.S.W.) Museum of Contemporary Art (Sydney. Yinka Shonibare MBE. Berlin; London: Prestel, 2008.

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A TEXTILE COUTURE EXPERIENCE exihibition content narrative Issey Miyake Artist Statement/Creative Process Issey Miyake, a Japanese born fashion designer was born April 22, 1938 in Hiroshima, Japan. Issey Miyake and Issey Mikaye INC. have one mission through their brand, which is to continue to: focus on both the importance of imagination and the development of new technology in which to make clothing…[the] spirit of innovative product creation with the goal of enhancing people’s daily lives….[and] values [the] free thinking that is unconventional - thinking that takes into consideration the spirit of creation, curiosity and love as a universal expression.1

Issey Miyake’s exhibition titled “Making Things”, conceptualized that mission with an interview with Herve Chandes, Curator of the Foundation Cartier pour l’art contemprian. Chandes asks the designer to explain his concept behind the title of the exhibition and Miyake states: “Making Things” …..symbolizes the 20th century itself…comes out of the observation that many of the vocations which emerged out of the 19th or the beginning of the 20th centuries, including my own field of design…photography… architecture and art. It is really essential that the visitors or viewers understand our attention and….The spirit of curiosity and pleasure is at the heart of our work…2

Issey Miyake’s personal mission helps to formulate his creative process by merging “old and new, East and West”3, manipulation of fibers and fabrics, and later his creation of A-POC, a process that allows for the creation of an entire outfit from one continuous tube of fabric.4

Nicola Formichetti Artist Statement/Creative Process Nicola Formichetti , an Italian-Japanese born fashion editor, stylist, and Creative Director for MUGLER, a French based fashion Design Company. He was born May 31, 1977 and grew up between Rome, Italy and Tokyo, Japan. 5 Nicola Formichetti has admitted to using various influences in order to inspire his creative direction including music, film,social media6 and people, ranging from celebrities like Lady GaGa to ordinary people from Facebook like Rick Genst, the new poster boy for MUGLER.7 1 Issey Miyake INC. 2012. “ISSEY MIYAKE INC. | ISSEY MIYAKE INC. ENGLISH.” Issey Miyake INC. Accessed November 20. http:// http:isseymiyake.com/en/. 2 Issei Miyake, Kazuko Sato, Raymond Meier, Hervé Chandès, and Fondation Cartier. Issey Miyake making things. [Paris]; Zurich; New York: Fondation Cartier pour l’art contemporain ; Scalo, 1999. 3 Mai Vu. "Miyake, Issey." Grove Art Online. Oxford Art Online. Oxford University Press, accessed November 16, 2012, http://www. oxfordartonline.com/subscriber/article/grove/art/T2081441. 4 Issei Miyake, Kazuko Sato, Raymond Meier, Hervé Chandès, and Fondation Cartier. Issey Miyake making things. [Paris]; Zurich; New York: Fondation Cartier pour l’art contemporain ; Scalo, 1999. 5 “Nicola Formichetti”, n.d http://www.mugler.com/us/en/#/12-nicola_formichetti/893-creative_director/894-creative_director 6 Rachel Rhodes. “Lord Gaga: The Man Behind the Meat Dress.” Wall Street Journal, March 5, 2011. http://online.wsj.com/article/SB1000142 4052748703559604576174822344379878.html. 7 Lee Carter “The Incredible But True Story of How Nicola Formichetti Got Rick Genest to Model in Mugler.” Hint Magazine, March 20, 2011. http://www.hintmag.com/post/the-true-story-of-how-nicola-formichetti-got-rick-genest-the-guy-with-a-scalp-tattoo-to-model-in-mugler--

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A TEXTILE COUTURE EXPERIENCE exibhition content narrative Kelly O’Reilley, contributing author for “Thread NY” of NBC New York, wrote an article in regards to Formichetti’s new direction for MUGLER’s menswear and quoted the director on his use of social media within his process. He states “Now you get to talk to and listen to your followers. I get inspired from this all the time,” said Formichetti. “You feel like you’re designing it together.”1

According to MUGLER’s website, Nicola Formichetti expresses his goal as the new fashion director of MUGLER by stating that wants “to invent new ways to excite popular imagination for a luxury brand such as MUGLER.”2 Formichetti, relies so heavily on his creative influences that he re- created the entire direction of the MUGLER brand after he met Rick Genst, his new muse for the Autumn/Winter 2011 Collection.3 For this exhibition, pieces from MUGLER’s Autumn/Winter 2011 Collection will be used in order to show the obsessive impact of pop culture within the world of fashion.

Reuel Riddick Artistic Artist Statement/ Creative Process *Biography is written and dictated by the designer, permission was giving to use for this project.*

In the winter of 2007, Reuben Reuel left his hometown of Virginia Beach, VA to follow his dream in fashion. After working as a freelance sample maker and design assistant for several small design companies, he decided in 2010 it was time to create a business of his own. De-Mes’Tiks NYC by Reuben Reuel launched its first women’s wear label in 2010 in New York City exclusively sold on Edressme.com. Creative director and founder Reuben Reuel is dedicated to provide contemporary, classic designs with a hint of vintage flair. The aesthetic of the label is finding fabrics that inspire creativity. He sees New York City’s Garment District as a designer’s treasure chest. The label’s initiative is to support domestic commerce by using fabrics, trims, notions, and production facilities in New York City in efforts to help preserve the Garment District. De-Mes’Tiks NYC by Reuben Reuel strongly believes in its motto: “Live to create, create to live”4

1 Kelly O’ Reilly. “News from Abroad Formichetti Says New Mugler Line Is ‘More Wearable,’ Admits He’s a Social Media Junkie.” Thread NY-NBC NYC, March 2, 2011. http://www.nbcnewyork.com/blogs/threadny/THREAD-Nicola-Formichetti-Talks-Tech-Todays-Gaga-Starring- Mugler-Show-117233273.html. 2“Nicola Formichetti”, n.d http://www.mugler.com/us/en/#/12-nicola_formichetti/893-creative_director/894-creative_director 3 Lee Carter. “The Incredible But True Story of How Nicola Formichetti Got Rick Genest to Model in Mugler.” Hint Magazine, March 20, 2011. http://www.hintmag.com/post/the-true-story-of-how-nicola-formichetti-got-rick-genest-the-guy-with-a-scalp-tattoo-to-model-in-mugler-- march-20-2011. 4 “Reuel Riddick”, n.d http://www.etsy.com/shop/DemestiksNYC/about/

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exhibition resources The exhibition resources for CLASH will include preliminary installation components, visuals from both the artists and designers featured within this exhibition, all public programming designed for this exhibition, the use of an online catalog, and social media in order for this exhibition to have an digital presence.

For this exhibition, the following installation components are needed and/or considered for this exhibition: • Various sized platforms • LED Track Lighting • Industrial Hardware for Ceiling Installation • Mannequins • Live Models • A/V Screens (LED/High Definition)

Visual Examples (in order of section and artists) CLASH: A Textile Couture Experience will contain works/pieces of at least one highly acclaimed contemporary textile artist and couture fashion designer as a show case, as well as, six upcoming artist/designers, two of which would be a student artist or couture fashion designer that are local within each city of each venue. Both, the artists and designers were selected based on a criteria including creative vision/ outlook, career status, cultural background, and depiction of social/cultural influence. The artists and designers are being used as visual examples of how both art/fashion are used as forms of social & cultural expression. The artists and designers biographies, statements, creative processes are being provided, in order for the visitor to see an individual interpretation within art & fashion as social and cultural components.

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exhibition resources Visual Examples (in order of section and artists) Contemporary Artists Nick Cave

Figure 7.1 (See p. 52) Figure 7.2 (See p. 52) Figure 7.3 (See p. 52)

Yinka Shonibare

Figure 7.4 (See p. 52) Figure 7.5 (See p. 52) Figure 7.6 (See 53)

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exhibition resources Visual Examples (in order of section and artists) Couture Fashion Designers Issey Miyake

Figure 8.1 (See p. 53) Figure 8.2 (See p. 53) Figure 8.3 (See p. 53)

Nicola Formichetti

Figure 8.4 (See p. 53) Figure 8.5 (See p. 53) Figure 8.6 (See p. 53)

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exhibition resources Visual Examples (in order of section and artists) Couture Fashion Designers Reuel Riddick

Figure 9.1 (See p. 54) Figure 9.2 (See p. 54) Figure 9.3 (See p. 54)

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exhibition resources

To further interpret the content and the mission of the exhibition, additional public programming and digital components have been considered to enhance the visitor experience.

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exhibition resources

Digital Presence

• Social Media will be used as a source for advertising the exhibition, updating the public about “happenings” pertaining to the exhibition, images, etc.

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story content outline

Introduction to Contemporary Art and Fashion Design The visitor will be introduced to Contemporary Art and Fashion Design by a brief explanation of both topics and academic characteristics of depicting both topics visually.

Contemporary/Conceptual Art Definition (Brief Explanation) Fashion Design Definition (Brief Explanation)

Introduction of Artists and Designers CLASH: A Textile Couture Experience will contain works/pieces of at least one highly acclaimed contemporary textile artist and couture fashion designer as a show case, as well as, six upcoming artist/designers, two of which would be a student artist or couture fashion designer that are local within each city of each venue. Both, the artists and designers were selected based on a criteria including creative vision/ outlook, career status, cultural background, and depiction of social/cultural influence. The artists and designers are being used as visual examples of how both art/fashion are used as forms of social & cultural expression. The artists and designers biographies, statements, creative processes are being provided, in order for the visitor to see an individual interpretation within art & fashion as social and cultural components.

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story content outline

Introduction of Artists and Designers-Continued Artists Nick Cave Biography Artist Statement Creative Process

Yinka Shonibare Biography Artist Statement Creative Process

Designers Issey Miyake Biography Artist Statement Creative Process

Nicola Formechetti Biography Artist Statement Creative Process

Reuel Riddick Biography Artist Statement Creative Process

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visitor experience When visiting the local venue for CLASH: A Textile Couture Experience, the visitor will be presented with an exterior treatment of the retail store front that will consist of dressed mannequins in the attire of the featured artists/designers. To further entice the visitor, live models will replace mannequins every 2-3 hours of the exhibition within the store front area. From there the, visitor will be introduced to the terms “contemporary/conceptual textile art” and “haute couture fashion”. This section will consist of an explanation of the two terms by using examples of traditional uses of each craft and academic terminology.

The next few sections will consists of the artists/designers, where the visitor will be presented with a brief biography, information about the artist’s/designer’s process or intent within their works, and works/pieces that best represent the theme of the exhibition. Within each artist/designer section, the viewer will be presented with information of how art/fashion is a form of cultural/social expression by using the artist as examples.

The first section of visual assets is dedicated to contemporary/conceptual art and the first artist introduce to the visitor is Nick Cave, who is an American multi-disciplinary artist. The visitor will be viewing several of the artist’s well-known Soundsuits. The Soundsuits were selected to show the various types of materials that the artist uses within his pieces, as well as his artistic progression throughout his career. The visitor will proceed to the next contemporary/conceptual artist, Yinka Shonibare, who is a London-based Nigerian multi-disciplinary artist as well. This is where the visitor will be viewing several sculptural pieces of the artist in which he uses mannequins, other random objects, and Holland- wax African print fabrics, native to African countries along the Dutch Trade route, which are fashioned to reflect the style of dress during the Colonial era.

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visitor experience The second section of visual assets is dedicated to the haute couture fashion designers and the first designer introduced to the visitor is Issey Miyake, who is a Japanese fashion designer. The selected pieces for this exhibition were selected to show the designer’s innovative approach towards fashion during his prime, including his Pleat Please Series and A-POC concept. Next the visitor will proceed towards the next fashion designer, Nicola Formechetti, who is a Korean-Italian fashion designer. The visitor will see selected works from the designer, including Lady GaGa’s Meat Dress (reproduction) and his various pieces designed under his direction for Thierry Mugler’s brand Mugler.

Along with each section, whether contemporary/conceptual art and haute couture fashion design, the visitor will be introduced to an amateur artist or designer that was selected through a juried competition within each hosting city of the exhibition. As an example this concept, the visitor will be introduced to Reuel Riddick, who is an American born designer and owner of Demestiks NYC. The visitors will see selected works from the designer that included Holland-wax African print fabrics.

During certain dates within the exhibition time frame (max. two weeks), public programming events are being offered in order to enhance the visitor experience, further inform the visitor about the information present and to create a dialogue or conversation amongst the visitors, lectures, and artists/designers.

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content and visitor diagrams This diagram provides information for both the order of exhibition content and the vistior’s inteneded flow throughout the exibition. This exhibition allows for the entry/exit experience to occur outside the exibition space within the storefront of each venue.

LIVE MODELS HAUTE COUTURE FASHION

entry-exit MANNEQUINS/ experience SCUPLTURE CONTEMPORARY introduction ART

REUEL RIDDICK ISSEY NICK MIYAKE YINKA CAVE SHONIBARE designers artists

NICOLA FORMICHETTI FUTURE ARTIST

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research plan

The research plan for Clash: A Textile Couture Experience was dissected into four main categories: historical background/reference, contemporary/conceptual artists, haute couture fashion designers, and design concept. The bibliographical sources for historical background/reference were used to help research the definition and idea of contemporary/conceptual art, couture fashion, and demographical research of venue location/sites. The bibliographical sources for contemporary/ conceptual artists and haute couture fashion designers were used to research the selected artists and designers, including their works/designs, careers, artistic intent, etc. The bibliographical sources for the design concept of this exhibition were selected to better understand how to approach the intended design concept and environmental treatment for this exhibition.

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bibliography Historical Background (Selected sources are being used to provide introductory background for contemporary/textile art and fashion design)

Alberro, Alexander, et al. 2012. “Conceptual Art in Oxford Art Online.” Oxford Art Online. Accessed November 20. http://www.oxfordartonline.com/subscriber/article/opr/t234/ e0126.

Baudot, François. 2006. Fashion : the Twentieth Century /. Rev. ed. Universe,.

Drucker, Johanna, et al. 2012. “Modernism in Oxford Art Online.” Oxford Art Online. Accessed November 20. http://www.oxfordartonline.com/subscriber/article/opr/t234/e0358.

Gunn, Tim. 2012. Tim Gunn’s Fashion Bible : the Fascinating History of Everything in Your Closet /. 1st Gallery Books hardcover ed. Gallery Books,.

Hollander, Anne, et al. 2012. “Fashion in Oxford Art Online.” Oxford Art Online. Accessed November 20. http://www.oxfordartonline.com/subscriber/article/opr/t234/e0206.

Olick, Jeffery K. 2012. “Popular Culture in Oxford Art Online.” Accessed November 20. http:// www.oxfordartonline.com/subscriber/article/opr/t234/e0411.

Quinn, Bradley. 2010. Textile futures : fashion, design and technology. Oxford; New York: Berg. Rosa, Joseph, and San Francisco Museum of Modern Art. 2004. Glamour : fashion, industrial design, architecture. San Francisco; New Haven: San Francisco Museum of Modern Art ; Yale University Press.

Walk Score. 2012. “Drive Less. Live More. - Walk Score.” Walk Score. Accessed November 20. http://www.walkscore.com/live-more/.

Washington, DC Economic Partnership. 2012. “Neighborhoods | WDCEP.” Washingto, DC Economic Partnership. Accessed November 20. http://www.wdcep.com/dc-profile/ neighborhoods/.

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bibliography Artist/Designers (Selected sources are being used to provide biographical, artistic/ design process, and visual assets)

Artists Beckwith, Naomi. 2012. “Cave, Nick in Oxford Art Online.” Oxford Art Online. http://www. oxfordartonline.com/subscriber/article/grove/art/T2220510.

Farrell, Laurie Ann, and Museum for African art (New York). 2003. Looking Both Ways. New York; Gent: Museum for African art ; Snoeck.

Faust Associates. 2012. “SoundsuitShop.” Soundsuit Shop. Accessed November 20. http:// soundsuitshop.com/.

Foster, Kenneth J. 2009. Nick Cave: Meet Me at the Cetner of the Earth. San Francisco, CA: Yerba Buena Center for the Arts.

Kent, Rachel, Robert Carleton Hobbs, Anthony Downey, and N.S.W.) Museum of Contemporary Art (Sydney. 2008. Yinka Shonibare MBE. Berlin; London: Prestel.

“Nick Cave :: JACK SHAINMAN GALLERY.” 2012. Accessed September 15. http://www. jackshainman.com/artist-images9.html.

Stevenson, Moira, and Adam Thorton. 2012. “Yinka Shonibare, MBE.” Yinka Shonibare, MBE. http://yinkashonibarembe.com/.

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bibliography

Fashion Designers Carter, Lee. 2011. “The Incredible But True Story of How Nicola Formichetti Got Rick Genest to Model in Mugler | Hint Fashion Magazine.” Hint Fashion Magazine. http://www.hintmag.com/post/the- true-story-of-how-nicola-formichetti-got-rick-genest-the-guy-with-a-scalp-tattoo-to-model-in- mugler--march-20-2011.

Dodes, Rachel. 2012. “Nicola Formichetti: The Man Behind the Meat Dress | Creating - WSJ.com.” The Wall Street Journal. Accessed November 20. http://online.wsj.com/article/SB100014240527487 03559604576174822344379878.html.

IMG Fashion. 2012. “Mercedes-Benz Fashion Week.” Mercedes-Benz Fashion Week. Accessed September 16. http://www.mbfashionweek.com/.

Issey Miyake INC. 2012. “ISSEY MIYAKE INC. | ISSEY MIYAKE INC. ENGLISH.” Issey Miyake INC. Accessed November 20. http://www.isseymiyake.com/en/.

“London Fashion Week - Designers.” 2012. Accessed September 15. http://www.londonfashionweek. co.uk/designers_profile.aspx?DesignerID=1503.

Miyake, Issei, Kazuko Sato, Raymond Meier, Hervé Chandès, and Fondation Cartier. Issey Miyake making things. [Paris]; Zurich; New York: Fondation Cartier pour l’art contemporain ; Scalo, 1999.

O’Reilly, Kelly. 2011. “Formichetti Says New Mugler Line Is ‘More Wearable,’ Admits He’s a Social Media Junkie | NBC New York”. Blog. NBC New York. http://www.nbcnewyork.com/blogs/threadny/ THREAD-Nicola-Formichetti-Talks-Tech-Todays-Gaga-Starring-Mugler-Show-117233273.html.

Reuel Riddick. 2012. “DemestiksNewYork on Etsy.” Etsy. http://www.etsy.com/shop/DemestiksNewYork/ about/.

Soleil Noir, and Thierry Mugler. 2012. “Nicola Formichetti-Creative Director.” Thierry Mugler. Accessed November 20. http://www.mugler.com/int/en/#/12-nicola_formichetti.

Two Hustlers Creative Lab. 2012. “Nicola’s Pop Up Shop.” Nicola’s Pop Up Shop. Accessed November 20. http://www.nicolaspopupshop.com/.

Vu, Mai. 2009. “Miyake, Issey in Oxford Art Online.” Oxford Art Online. http://www.oxfordartonline.com/ subscriber/article/grove/art/T2081441.

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bibliography

Design Concepts (Selected sources are being used to help develop the concept of the intend design choice and treatment)

H&M--Hennes & Mauritz LP. 2012. “H&M | H&M US.” H&M. Accessed November 20. http://www.hm.com/us.

Interactive Strategies. 2006. “Universal Gear.” Universal Gear. http://www.universalgear.com/.

Morgan, Tony. 2008. Visual merchandising : window and in-store displays for retail. London: Laurence King Pub.

Morris, Bethan. 2006. Fashion illustrator : drawing and presentation for the fashion designer. New York: Abrams.

Pegler, Martin M. 2006. Visual merchandising and display. New York: Fairchild Publications.

Por Homme. 2008. “Por Homme - Men’s Lifestyle, Fashion, Footwear and Culture Magazine.” Por Homme. http://www.porhomme.com/.

Suitsupply. 2012. “Home | Suitsupply Online Store.” Suitsupply. Accessed November 20. http:// us.suitsupply.com/on/demandware.store/Sites-US-Site/en_US/Home-Show.

Studios Architecture. 2012. “Studios Architecture.” Studios Architecture. Accessed November 20. http:// www.studios.com/

Yahoo. 2012. “Welcome to Flickr - Photo Sharing.” Flickr. Accessed November 20. http://www.flickr.com/.

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artists/designers biographies

Nick Cave

Biography/Resume/CV (Includes Solo Exhibitions, Collections, & Awards) Nick Cave, an American born multidisciplinary artist, was born February 4, 1959 in Fulton, Missouri and currently lives, as well as in Chicago, IL. Nick Cave’s educational background includes the Kansas City Art Institute, Kansas City, MO (BFA, ’82); North Texas State University, Denton, TX (Graduate Studies); And Cranbrook Academy of Art, Bloomfield Hills, MI (MFA, ’89).1 Nick Cave also studied and performed with Alvin Ailey Dance Theater, and is also a member of the educational staff for the Department of Fashion at the School of Art Institute (’80).2

SOLO EXHIBITIONS3 2013

Denver Art Museum, Colorado, Summer 2013.

Peabody Essex Museum, Salem, Massachusetts, January 2013. Curated by Trevor Smith.

2012–2013

Fantastic 2012, Lille 3000, Tri Postal, Lille, France, October 6, 2012–January 13, 2013. (forthcoming)

2009–2012

Nick Cave: Meet Me at the Center of the Earth, Yerba Buena Center for the Arts, San Francisco, April– July 5, 2009. Traveled to: Scottsdale Museum of Contemporary Art, Arizona, July 30, 2009–November 29, 2009; Fowler Museum, University of California, Los Angeles, January 10–May 30, 2010; Norton Museum, West Palm Beach, Florida, October 9, 2010–January 9, 2011; Seattle Art Museum, Washington, March 10–June 5, 2011; Taubman Museum of Art, Roanoke, Virginia, August 2011–December 30, 2011; Cincinnati Art Museum, Ohio, January 21–April 29, 2012; Boise Art Museum, Idaho, May 19–November 4, 2012. (Catalogue)

2012

Nick Cave, Austin Museum of Art / Arthouse at the Jones Center, Texas, September 29–December 30, 2012.

Soundsuits, University of North Texas Art Gallery, Denton, February 24–March 24, 2012.

2011–2012

Nick Cave: Let’s C, Fabric Workshop and Museum, Philadelphia, December 16, 2011–February 2012.

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artists/designers biographies

2011 Nick Cave: For Now, Mary Boone Gallery in collaboration with Jack Shainman Gallery, New York, September 10–October 22, 2011. Nick Cave: Ever-After, Jack Shainman Gallery in collaboration with Mary Boone Gallery, New York, September 9–October 8, 2011. 2010 Nick Cave,Studio La Città, Verona, Italy, March 27–June 15, 2010. Lost-and-Found: Nick Cave, Nerman Museum of Contemporary Art, Kansas City, Kansas, April 15, 2010. 2009 Nick Cave: Recent Soundsuits, Jack Shainman Gallery, New York, January 8–February 7, 2009. 2008 Nick Cave: Alter-Skins, Fosdick-Nelson Gallery, Alfred, New York, September 16–October 26, 2008. 2007 Nick Cave Soundsuits, Cornell Fine Arts Museum, Winter Park, Florida, April 1–May 20, 2007. Second Skins: Sculptural Soundsuits and Tondos by Nick Cave, Museum of Contemporary Art, Jacksonville, Florida, January 26–April 7, 2007. 2006 Nick Cave: Soundsuits, Jack Shainman Gallery, New York, New York, October 13–November 11, 2006. Nick Cave: Soundsuits, Chicago Cultural Center, Chicago, Illinois, June 2006. 2005 Nick Cave: Soundsuits, Manchester Craftsmen’s Guild, Pittsburgh, Pennsylvania 2004 Nick Cave: Soundsuits, Holter Museum of Art, Helena, Montana 2003 Nick Cave,Hand Workshop Art Center, Richmond, Virginia 2002 Nick Cave: Inquisition,Wright Museum Courtyard, Beloit, Michigan, February 19–March 26, 2002. Nick Cave, Macalester College of Art, St. Paul, Minnesota Nick Cave,The Sybaris Gallery, Royal Oak, Michigan

Nick Cave,Fort Wayne Museum of Art, Fort Wayne, Indiana

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artists/designers biographies

2001 Nick Cave: Amalgamations, Allentown Art Museum, Allentown, Pennsylvania, September 17–December 30, 2001. Nick Cave: New Work, Xavier, University Art Gallery, University of Cincinnati, Ohio Nick Cave: Objects of Desire, Noel Gallery, Charlotte, North Carolina Nick Cave,Fort Wayne Museum of Art, Fort Wayne, Indiana 2000 Nick Cave 2000, Duane Reed Gallery, Chicago, Illinois 1999 Nick Cave: New Work, Zone One Gallery, Asheville, North Carolina Nick Cave: Reparations, South Bend Museum of Art, South Bend, Indiana 1998 Nick Cave: Performance & Exhibition, Northern Illinois University Gallery, College of Visual and Performing Arts, De Kalb, Illinois, April 14–May 9, 1998. 1997 New Work, Grand Arts, Kansas City, Missouri PUBLIC COLLECTIONS 21 Century Museum, Louisville Addison Gallery of American Art, Andover, Massachusetts Art in Embassies Program, United States Benetton Group, Italy BET Networks, New York Birmingham Museum of Art, Alabama Brooklyn Museum, New York Chrysler Museum of Art, Norfolk, Virginia Crystal Bridges Museum of American Art, Bentonville, Arkansas De Young Museum, San Francisco Detroit Institute of Arts, Michigan Hallmark Corporations, Kansas City, Missouri High Museum, Atlanta Hirshhorn Museum, Washington D.C.

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artists/designers biographies Johnson County Community College Gallery of Art, Johnson County, Kansas McCormick East, Chicago Milwaukee Art Museum, Wisconsin The Mint Museum, Charlotte, North Carolina Mott Foundation, Flint, Michigan Museum of Arts and Design, New York Museum of Contemporary Art, Chicago Museum of Fine Arts, Boston Museum of Fine Arts, Houston Museum of Modern Art, New York Nerman Museum of Contemporary Art, Kansas City, Missouri Norton Museum of Art, West Palm Beach Orlando Museum of Art, Florida Ostrow Family, Dynasty Trust Pennsylvania Academy of Fine Art, Philadelphia The Portland Art Museum, Oregon Rhode Island School of Design Museum, Providence Rubell Family Collection, Miami San Francisco Museum of Modern Art, California The School of The Art Institute of Chicago, Illinois Seattle Art Museum, Washington Smart Museum, University of Chicago, Illinois Smithsonian Institution, Washington, D.C. Wadsworth Atheneum Museum of Art, Hartford Weatherspoon Art Museum, Greensboro, North Carolina

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artists/designers biographies

AWARDS & FELLOWSHIPS 2008

Joan Mitchell Foundation Award

2006

Artadia Award

Joyce Foundation Joyce Award

2004

Creative Capital Grant

2002

Creative Capital Grant

2001

Louis Comfort Tiffany Foundation Award

2000

“Faces in the Field,” The Field Museum of Natural History Award

1997

Illinois Arts Council State Grant

1993

Arts Midwest Grant

Illinois Arts Council State Grant

1987

Ford Foundation Scholarship (also 1998 and 1999)

Yinka Shonibare

Biography/Resume/CV (Includes Solo Exhibitions, Collections, & Awards) Yinka Shonibare, MBE, a Nigerian born multidisciplinary artist, was born August 9, 1962 and grew up simultaneously between Lagos, Nigeria and United Kingdom.1 The artist currently lives and works in London, where he also continued his education at the Goldsmoths College, University of London and the Byam Shaw School of Art, Central Saint Martins College of Art and Design, University of London.2

1 Rachel Kent, Robert Carleton Hobbs, Anthony Downey, and N.S.W.) Museum of Contemporary Art (Sydney. Yinka Shonibare MBE. Berlin; London: Prestel, 2008, pg. 216 2 “Yinka Shonibare, MBE”, n.d. http://yinkashonibarembe.com/.

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artists/designers biographies

Public Commissions1 2012 Nelson’s Ship in a Bottle, Acquisition National Maritime Museum, Greenwich, London, England (a permanent public sculpture) Globe Head Ballerina, Royal Opera House, London, England Wind Sculpture, Howick Place, Victoria, London, England (October) 2010- 2012 Nelson’s Ship in a Bottle, Fourth Plinth Commission, Trafalgar Square, London, England

Solo Exhibitions (selected) 2013 Yorkshire Sculpture Park, Wakefield, UK

2012 Invasion, Escape: Aliens do it right!, Anna Schwartz Gallery, Sydney, Australia Addio del Passato, James Cohan Gallery, New York, USA

2011 El Futuro del Pasado, Alcalá 31 Centros de Arte, Madrid, Spain, curated by Octavio Zaya; touring to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain

2010 Human Culture: Earth, Wind, Fire and Water, Israel Museum, Jerusalem Yinka Shonibare, MBE: Sculpture, Photography and Film, Western Michigan University, Michigan, USA Looking Up, MBE, Nouveau Musée National de Monaco, Monaco Yinka Shonibare MBE, Friedrichswerder Church, Berlin, Germany Before and After Modernism: Byam Shaw, Rex Vicat Cole, Yinka Shonibare, MBE, Lethaby Gallery, Central Saint Martins College of Art & Design, London, England

2009 Willy Loman: The Rise and Fall, Stephen Friedman Gallery, London, England Party Time: Re-Imagine America - A Centennial Commission by Yinka Shonibare MBE, Newark Museum, 1 July – 3 January 2010 A Centenary Commission, 26 February – August 2009 Dublin City Gallery The Hugh Lane, Ireland A Flying Machine for every Man, Woman and Child & other Astonishing Works, Santa Barbara Museum of Art, California, USA A Flying Machine for every Man, Woman and Child, Miami Art Museum, Miami, USA

1 “Yinka Shonibare, MBE”, n.d. http://yinkashonibarembe.com/.

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artists/designers biographies

Yinka Shonibare, MBE, Museum of Contemporary Art (MCA), Sydney, Australia; touring to Brooklyn Museum, New York, USA and National Museum of African Art Smithsonian Institution, Washington D.C, USA

2008 Odile and Odette, Savannah College of Art and Design, ACA Gallery, Atlanta, USA Yinka Shonibare, MBE, Museum of Contemporary Art (MCA), Sydney, Australia; touring to Brooklyn Museum, New York, USA and the Smithsonian, Washington D.C., USA Prospero’s Monsters, James Cohan Gallery, New York, USA

2007 Scratch the Surface, National Gallery, London, England Jardin d’Amour, Musée du Quai Branly, Paris, France White Flag at Half Mast, commission for the Jubilee Flagpole, Hayward Gallery, South Bank Centre, London, England

2006 Yinka Shonibare Installation, Speed Museum, Kentucky, USA Flower Time, Stephen Friedman Gallery, London, England

2005 Mobility, James Cohan Gallery, New York, USA Yinka Shonibare Selects: Works from the Permanent Collection, Cooper- Hewitt, National Design Museum of the Smithsonian Institution, New York, USA Collaborative film/dance project with the Royal Opera House and the Africa Centre, London , England

2004 Turner Prize, Tate Britain, London Yinka Shonibare, Double Dutch, Boijmans van Beuningen Museum, Rotterdam, The Netherlands; touring to Kunsthalle Vienna, Austria (catalogue) Vasa, Commission for the opening of Moderna Museet, Stockholm, Sweden Yinka Shonibare, The Fabric Workshop and Museum, Philadelphia, PA, USA 2003 Play with me, Stephen Friedman Gallery, London Double Dress, KIASMA, Helsinki, Finland; toured to Israel Museum, Jerusalem, Israel; Studio Museum, Harlem, NY, USA and Padiglione d’Arte Contemporanea, Milan, Italy (catalogue)

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artists/designers biographies

2002 Christmas Tree Project, Tate Britain, London Britannia project, Tate Britain, London Be-muse, The British School in Rome, Rome, Italy (catalogue) The Andy Warhol Museum, Pittsburgh, USA (brochure) Camouflage, Johannesburg, South Africa (catalogue)

2001 Stephen Friedman Gallery and 2nd Floor, 12 Dolland Street, London, England

2000 Effective, defective, creative, permanent video installation, Wellcome Wing, Science Museum, London, England Camden Arts Centre, London, England Affectionate Men, Victoria & Albert Museum, London Diary of a Victorian Dandy Project, INIVA; toured to Castle Museum, Nottingham; Laing Art Gallery, Newcastle; Towner Art Gallery, Eastbourne, UK

1999 Dressing Down, Ikon Gallery, Birmingham; toured to Henie Onstad Art Centre, Norway; Northern Gallery for Contemporary Art, Sunderland; Mappin Art Gallery, Sheffield; Oriel Mostyn, Llandudno, Wales (catalogue) Brent Sikkema, New York, USA

1998 Diary of a Victorian Dandy, site-specific project on the London Underground, commissioned and produced by INIVA, London, England Alien Obsessives, Mum, Dad and the Kids, Tablet, the Tabernacle, London; toured to Norwich Art Gallery, Norwich, UK

1997 Stephen Friedman Gallery, London, England Present Tense, contemporary project series, Art Gallery of Ontario, Toronto, Canada

1995 Sun, Sea and Sand, BAC Gallery, London, England 1994 Double Dutch, Centre 181 Gallery, London, England 1989 Byam Shaw Gallery, London, England Bedford Hill Gallery, London, England

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artists/designers biographies

Awards and Residencies 2007 Honorary Doctorate Degree, Huron University 2005 Awarded the MBE 2004 IASPIS, International Artists’ Studio Program in Stockholm, Sweden 2003 Fellow of Goldsmiths College, London 2001 Residency, Fabric Workshop, Philadelphia, PA, USA 2000 Residency, MCA DePaul University, Chicago, IL, USA 1999 Shortlisted Citibank Private Bank Photography Prize 1998 Paul Hamlyn Foundation Award for Visual Artists Royal Society of Arts, Art for Architecture Award 1992 Barclays Young Artists Award, Serpentine Gallery, London London Arts Board Artist’s Grant

Public Collections (selected) Museum of Modern Art, New York The Art Institute of Chicago, Chicago Museum of Contemporary Art, Chicago National Gallery of Canada, Ottawa Speed Art Museum, Louisville RISD Museum, Providence Tate Collection, London Moderna Museet, Stockholm The Israel Museum, Jerusalem Magasin 3, Stockholm National Gallery of Modern Art in Rome, Rome San Francisco Museum of Modern Art, San Francisco National Museum of African Art, Smithsonian Institute, Washington DC Arts Council Collection, London Walker Arts Centre, Minneapolis Seattle Art Museum, Seattle Scottish National Gallery, Edinburgh

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artists/designers biographies

Issey Miyake

Biography/Resume/CV (Includes Collections, Brands, Exhibitions, etc.) Issey Miyake, a Japanese born fashion designer was born April 22, 1938 in Hiroshima, Japan. He attended Tama Art University (1959-62) for graphic and fashion design, as well as attending Ecole de la Chambre Syndicale de la Couture Parisienne (1965-69) in Paris, France.1 From there, Miyake’s career flourished from a world-renowned fashion designer to innovative entrepeneur of Issey Miyake INC.2

History3 1971 February The first “ISSEY MIYAKE” brand collection was launched by MIYAKE DESIGN STUDIO in New York. November Established ISSEY MIYAKE INTERNATIONAL INC. (currently ISSEY MIYAKE INC.). 1973 April Participated in the Paris Collection as “ISSEY MIYAKE” from Autumn-Winter 1973. 1974 March Opened the first “ISSEY MIYAKE” shop in the Puzzle Aoyama building. 1975 January Opened the first overseas “ISSEY MIYAKE” shop on Place du Marche Saint-Honore, Paris. 1976 June Opened a main “ISSEY MIYAKE” shop in the From-1st building, Aoyama. 1978 September Launched the “ISSEY MIYAKE MEN” brand. 1979 April Opened the flagship “ISSEY MIYAKE” shop on rue Saint Germain, Paris. July Established ISSEY MIYAKE EUROPE S.A. in Paris 1982 July Established ISSEY MIYAKE U.S.A. CORP. in New York 1983 July Established ISSEY MIYAKE U.K. LTD. in London

1 Issei Miyake, Kazuko Sato, Raymond Meier, Hervé Chandès, and Fondation Cartier. Issey Miyake making things. [Paris]; Zurich; New York: Fondation Cartier pour l’art contemporain ; Scalo, 1999, pg. 150 2 “ISSEY MIYAKE INC. | ISSEY MIYAKE INC. ENGLISH”, n.d. http://www.isseymiyake.com/en/ 3 Ibid

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1985 February Participated in the Paris Collection as “ISSEY MIYAKE MEN” from Autumn-Winter 1985. 1987 Opened the flagship “ISSEY MIYAKE” shop on Madison Avenue, New York. 1989 September Opened the flagship “ISSEY MIYAKE” shop on Place des Vosges, Paris. October Opened the flagship “ISSEY MIYAKE” shop on Brompton Road, London. Opened the flagship “Permanente” shop on rue St. Germain, Paris. 1990 Changed the company name from ISSEY MIYAKE INTERNATIONAL INC. to ISSEY MIYAKE INC. 1993 February Launched the “PLEATS PLEASE ISSEY MIYAKE” brand. March Moved the head office to Oyama-cho, Shibuya. 1996 August Established A-net Inc. as a group subsidiary. September Changed the name ISSEY MIYAKE U.K. LTD. to ISSEY MIYAKE LONDON LTD. 1997 May Opened the flagship “PLEATS PLEASE ISSEY MIYAKE” shop on Brook Street, London. October Launched A-POC “JUST BEFORE” at “ISSEY MIYAKE” Collection Spring-Summer 1998. 1998 May Opened the flagship “PLEATS PLEASE ISSEY MIYAKE” shop in Soho, New York. June Moved the venue for the “ISSEY MIYAKE MEN” Collection from Paris to Milan and launched the Collection there. October “ISSEY MIYAKE MAKING THINGS” Exhibition (Paris). 1999 September Opened “PLEATS PLEASE ISSEY MIYAKE” shop on rue Rosiers, Paris. October Naoki Takizawa presented his first “ISSEY MIYAKE” SPRING SUMMER 2000 Collection under the “ISSEY MIYAKE” label. November “ISSEY MIYAKE MAKING THINGS” Exhibition (New York). December Opened the flagship “ISSEY MIYAKE” shop on Conduit Street, London.

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artists/designers biographies

2000 February Launched the “A-POC” brand. Opened the flagship “A-POC” shop in Aoyama. April Issey Miyake Exhibition “ISSEY MIYAKE MAKING THINGS” (Tokyo). Opened the flagship “PLEATS PLEASE ISSEY MIYAKE” shop in Aoyama La Place,Aoyama. May Launched the “me ISSEY MIYAKE” brand. July Launched the “HaaT” brand. Moved the head office to Tomigaya, Shibuya. September Opened the flagship “A-POC” shop on rue Francs-Bourgeois, Paris. 2001 October Opened the global flagship shop for “tribeca ISSEY MIYAKE” in New York. 2002 February Opened the flagship “ISSEY MIYAKE FÊTE” shop in the From-1st building, Aoyama. 2003 April Opened the flagship “ISSEY MIYAKE BY NAOKI TAKIZAWA” shop at Roppongi Hills. 2004 July Moved the flagship “ISSEY MIYAKE FÊTE” shop to ISSEY MIYAKE AOYAMA on the occasion of worldwide operations. Changed the brand name “me ISSEY MIYAKE” to “me” 2005 January Moved the venue for the launch of “ISSEY MIYAKE” Men’s Collection to Paris from Autumn-Winter 2005 onward. June Exhibited “PLEATS PLEASE ISSEY MIYAKE” in the “BIG BANG” exhibition at the Center G. Pompidou, Paris. July Opened the flagship “me” shop in the From-1st building, Aoyama. 2006 March Opened the flagship “me” shop on rue du Dragon, Saint Germain, Paris October Opened the “ISSEY MIYAKE” shop on Madison Avenue New York at a new location. 2007 January Dai Fujiwara presented his first AUTUMN WINTER 2007 Men’s Collection under the “ISSEY MIYAKE” label. February Dai Fujiwara presented his first AUTUMN WINTER 2007 Women’s and FÊTE Collection under the “ISSEY MIYAKE” label, together with the Men’s line, at the Paris Collection.

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artists/designers biographies

March Opened the flagship “PLEATS PLEASE ISSEY MIYAKE” shop in Tokyo Midtown. April Opened the composite brand flagship shop “ELTTOB TEP ISSEY MIYAKE / SEMBA” in Semba, Osaka. July Incorporation of A-POC into ISSEY MIYAKE as a design solution named “A-POC INSIDE” November Opened the total flagship shop “ISSEY MIYAKE / KOBE” in Hyogo. December Changed the brand name “me” to “me ISSEY MIYAKE” in Asia or “CAULIFLOWER” in Europe and the U.S. 2008 October Opened the flagship “ISSEY MIYAKE” shop on rue Royale, Paris. 2009 July Incorporation of ISSEY MIYAKE FÊTE into ISSEY MIYAKE September Opened the concept shops 24 ISSEY MIYAKE 2010 September Launched the “BAO BAO ISSEY MIYAKE” brand. November Opened the flagship “132 5. ISSEY MIYAKE” shop in the From-1st building, Aoyama. 2011 March Opened the composite brand flagship shop “ELTTOB TEP ISSEY MIYAKE / GINZA” in Ginza, Tokyo. June A new design team presented their first ISSEY MIYAKE men’s SPRING SUMMER 2012 Collection. October Yoshiyuki Miyamae presented his first SPRING SUMMER 2012 Collection under the “ISSEY MIYAKE” label. 2012 January ISSEY MIYAKE men’s brand changed the name to “ISSEY MIYAKE MEN”

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artists/designers biographies

Nicola Formichetti

Biography/Resume/CV (Includes Collections, Brands, Exhibitions, etc.) Nicola Formichetti , an Italian-Japanese born fashion editor , stylist, and Creative Director for MUGLER, a French based fashion Design Company. He was born May 31, 1977 and grew up between Rome, Italy and Tokyo, Japan. 1 Formichetti, has no formal fashion design training2 but in 1997 briefly attended and studied architecture in London.3 Formichetti landed his career within the fashion industry by starting off as buyer and art director for a local London-based boutique, where he was personally approached by Katy England and Allasiter Makcie to contribute as a fashion editor for English Dazed & Confused magazine.4 This start led him to work with other fashion publications including Vogue Japan Hommes, V, VMAN, and Uniqlo, as well as Fashion Director for Dolce & Gabana.5

*No formal resume/CV was found

Reuel Riddick

Biography/Resume/CV /Artistic Artist Statement/ Creative Process (Includes Collections, Brands, Exhibitions, etc.) *Biography is written and dictated by the designer, permission was giving to use for this project.*

*As requested by the designer, no formal resume/CV was provided for this project.

1 “Nicola Formichetti”, n.d http://www.mugler.com/us/en/#/12-nicola_formichetti/893-creative_director/894-creative_director 2 Rachel Rhodes. “Lord Gaga: The Man Behind the Meat Dress.” Wall Street Journal, March 5, 2011. http://online.wsj.com/article/SB10001424 052748703559604576174822344379878.html. 3 “Nicola Formichetti”, n.d http://www.mugler.com/us/en/#/12-nicola_formichetti/893-creative_director/894-creative_director 4 Ibid 5 Ibid 6 “Reuel Riddick”, n.d http://www.etsy.com/shop/DemestiksNYC/about/

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illustrations

1. Figure 1.1, p. 11—Illustration of the intersection of 7th Street and H Street N.W., located at Gallery Place- Chinatown Metro Station in Downtown Washington, D.C. Photo Courtesy of Washington, D.C. Economic Partnership. Washington, DC Economic Partnership. 2012. “Neighborhoods | WDCEP.” Washingto, DC Economic Partnership. Accessed November 20. http://www.wdcep.com/dc-profile/neighborhoods/. 2. Figure 1.2, p. 11—Illustration of an area map of Chinatown-Downtown D.C. in Downtown Washington, D.C. Photo Courtesy of Washington, D.C. Economic Partnership. Washington, DC Economic Partnership. 2012. “Neighborhoods | WDCEP.” Washingto, DC Economic Partnership. Accessed November 20. http://www.wdcep.com/dc-profile/neighborhoods/. 3. Figure 2.1, p. 12—Illustration of the exterior view of H & M Retail Store located at the intersection of 11th Street and F Street, N.W. in Downtown Washington, D.C. Photo Courtesy of Flickr on Yahoo. Yahoo. 2012. “Welcome to Flickr - Photo Sharing.” Flickr. Accessed November 20. http://www.flickr.com/. 4. Figure 2.2, p. 12—Illustration of the interior view and display arrangement of a typical H & M Retail Store. Photo Courtesy of Flickr on Yahoo. Yahoo. 2012. “Welcome to Flickr - Photo Sharing.” Flickr. Accessed November 20. http://www.flickr.com/. 5. Figure 2.3, p. 12—Illustration of the interior view and display arrangement of a typical H & M Retail Store. Photo Courtesy of Flickr on Yahoo. Yahoo. 2012. “Welcome to Flickr - Photo Sharing.” Flickr. Accessed November 20. http://www.flickr.com/. 6. Figure 3.1, p. 13—Illustration of the intersection of M Street and Wisconsin Avenue N.W., located within the Georgetown area of Washington, D.C. Photo Courtesy of Washington, D.C. Economic Partnership. Washington, DC Economic Partnership. 2012. “Neighborhoods | WDCEP.” Washingto, DC Economic Partnership. Accessed November 20. http://www.wdcep.com/dc-profile/neighborhoods/. 7. Figure 3.2, p. 13—Illustration of an area map of Georgetown in Washington, D.C. Photo Courtesy of Washington, D.C. Economic Partnership. Washington, DC Economic Partnership. 2012. “Neighborhoods | WDCEP.” Washingto, DC Economic Partnership. Accessed November 20. http://www.wdcep.com/dc-profile/neighborhoods/. 8. Figure 4.1, p. 14—Illustration of the exterior view of Suitsupply Retail Store located at the intersection of Pennsylvania Avenue and 28th Street, N.W. in the Georgetown area of Washington, D.C. Photo Courtesy of Por Homme. Por Homme. 2008. “Por Homme - Men’s Lifestyle, Fashion, Footwear and Culture Magazine.” Por Homme. http:// www.porhomme.com/. 9. Figure 4.2, p. 14—Illustration of the interior view and display arrangement of a typical Suitsupply Retail Store. Photo Courtesy of Suitsupply. Suitsupply. 2012. “Home | Suitsupply Online Store.” Suitsupply. Accessed November 20. http://us.suitsupply.com/ on/demandware.store/Sites-US-Site/en_US/Home-Show. Figure 4.3, p. 15—Illustration of the interior view and display arrangement of a typical Suitsupply Retail Store. Photo Courtesy of Suitsupply. Suitsupply. 2012. “Home | Suitsupply Online Store.” Suitsupply. Accessed November 20. http://us.suitsupply.com/ on/demandware.store/Sites-US-Site/en_US/Home-Show. Figure 5.1, p. 16—Illustration of an aerial view of 14th Street, N.W. located within the Logan Circle area of Washington, D.C. Photo Courtesy of Washington, D.C. Economic Partnership. Washington, DC Economic Partnership. 2012. “Neighborhoods | WDCEP.” Washingto, DC Economic Partnership. Accessed November 20. http://www.wdcep.com/dc-profile/neighborhoods/.

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illustrations Figure 5.2, p.16—Illustration of an area map of 14th and U Street/MidCity area in Washington, D.C. Photo Courtesy of Washington, D.C. Economic Partnership. Washington, DC Economic Partnership. 2012. “Neighborhoods | WDCEP.” Washingto, DC Economic Partnership. Accessed November 20. http://www.wdcep.com/dc-profile/neighborhoods/. Figure 6.1, p. 17—Illustration of the interior view of Universal Gear Retail Store located on the 1500 block of 14th Street, N.W. in the Logan Circle area of Washington, D.C. Photo Courtesy of Studios Architecture. Studios Architecture. 2012. “Studios Architecture.” Studios Architecture. Accessed November 20. http://www. studios.com/ Figure 6.2, p. 17—Illustration of the interior view and display arrangement of Universal Gear Retail Store. Photo Courtesy of Studios Architecture. Studios Architecture. 2012. “Studios Architecture.” Studios Architecture. Accessed November 20. http://www. studios.com/ Figure 7.1, p. 25—Illustration of Nick Cave, an American born multidisciplinary artist, was born February 4, 1959 in Fulton, Missouri and currently lives, as well as in Chicago, IL. Nick Cave’s educational background includes the Kansas City Art Institute, Kansas City, MO (BFA, ’82); North Texas State University, Denton, TX (Graduate Studies); And Cranbrook Academy of Art, Bloomfield Hills, MI (MFA, ’89).1 Nick Cave also studied and performed with Alvin Ailey Dance Theater, and is also a member of the educational staff for the Department of Fashion at the School of Art Institute (’80).2 Photo Courtesy of Indiapolis Musuem of Art. “Indiapolis Museum of Art--Breaking The Mode.” 2012. Accessed November 20. http://www.imamuseum.org/ exhibitions/breakingthemode/more/programs. Figure 7.2, p. 25—Illustration of Soundsuit, 2011 (110”x36”x32”), Nick Cave, Mixed Media, Jack Shainman. Photo Courtesy of Jack Shainman Gallery Website. “Nick Cave :: JACK SHAINMAN GALLERY.” 2012. Accessed September 15. http://www.jackshainman.com/artist- images9.html. Figure 7.3, p. 25-- Illustration of an installation view of For Now Mary Boone Gallery in collaboration with Jack Shainman Gallery. Photo Courtesy of Jack Shainman Gallery. “Nick Cave :: JACK SHAINMAN GALLERY.” 2012. Accessed September 15. http://www.jackshainman.com/artist- images9.html. Figure 7.4, p. 25—Illustration of Yinka Shonibare, MBE, a Nigerian born multidisciplinary artist, was born August 9, 1962 and grew up simultaneously between Lagos, Nigeria and United Kingdom.3 The artist currently lives and works in London, where he also continued his education at the Goldsmoths College, University of London and the Byam Shaw School of Art, Central Saint Martins College of Art and Design, University of London.4 Photo Courtesy of OnTV. “On TV.” 2012 Accessed November 20. On TV. http://www.ontvsite.com/stories/527/Yinka-Shonibare-MBE-and-his-Addio- del-Passato-Exhibition

Figure 7.5, p. 25—Illustration of Food Faerie, 2009 ( Unknown), Yinka Shonibre, MBE, Manequin, dutch wax fabric cotton textile, feather wings, and leather harnessed sack. Photo Courtesy of Yinka Shinibare, MBE Website.

Stevenson, Moira, and Adam Thorton. 2012. Accessed September 15. “Yinka Shonibare, MBE.” Yinka Shonibare, MBE. http://yinkashonibarembe.com/.

1 Kenneth J. Foster. Nick Cave: Meet Me at the Cetner of the Earth. San Francisco, CA: Yerba Buena Center for the Arts, 2009, p. 321 2 Naomi Beckwith . "Cave, Nick." Grove Art Online. Oxford Art Online. Oxford University Press, accessed November 16, 2012, http://www. oxfordartonline.com/subscriber/article/grove/art/T2220510. 3 Rachel Kent, Robert Carleton Hobbs, Anthony Downey, and N.S.W.) Museum of Contemporary Art (Sydney. Yinka Shonibare MBE. Berlin; London: Prestel, 2008, pg. 216 4 “Yinka Shonibare, MBE”, n.d. http://yinkashonibarembe.com/. CLASH A TEXTILE EXPERIENCE 53 of 55 CHEENA NICOLE RAIFORD CCA+D MASTER OF ARTS EXHIBITION DESIGN THESIS/EX7900/STUDIO B SPRING 2013/SP01 MAY 2013

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illustrations

Figure 7.6, p. 25—Illustration of Spacewalk, 2002 (Unkown), Yinka Shonibare, MBE, Scren printed cotton fabric, fiberglass, plywood, vinyl, plastic, and steel. Photo Courtesy of Yinka Shonibare, MBE Website. Stevenson, Moira, and Adam Thorton. 2012. “Yinka Shonibare, MBE.” Yinka Shonibare, MBE. http:// yinkashonibarembe.com/. Figure 8.1, p. 26—Illustration of Issey Miyake, a Japanese born fashion designer was born April 22, 1938 in Hiroshima, Japan. He attended Tama Art University (1959-62) for graphic and fashion design, as well as attending Ecole de la Chambre Syndicale de la Couture Parisienne (1965-69) in Paris, France.1 From there, Miyake’s career flourished from a world-renowned fashion designer to innovative entrepeneur of Issey Miyake INC.2 Photo Courtesy of Zimbo. “Zimbo.” 2012. Accessed November 20.“Most Influential People In Fashion--Issey Miyake.” Zimbo. http://www. zimbio.com/100+Most+Influential+People+in+Fashion/articles/164/Fashion+Influential+72+Issey+Miyake Figure 8.2, p. 26—Illustration of an advertisement for Issey Miyake’s Pleats Please clothing line. Photo Courtesy of Brook and Lyn Blog. “Brook and Lyn.” 2012. Accessed November 20. Brook and Lyn. http://www.brookandlyn.com/blog/?p=3372 Figure 8.3, p. 26—Illustration of Issey Miyake’s Autumn Winter 2010 Paris Collection Runway Show. Photo Courtesy of Issey Miyake, INC. Issey Miyake INC. 2012. “ISSEY MIYAKE INC. | ISSEY MIYAKE INC. ENGLISH.” Issey Miyake INC. Accessed November 20. http://www.isseymiyake.co.jp/en/news/2010/03/issey_miyake_autumn_winter_201.html Figure 8.4, p. 26—Illustration of Nicola Formichetti , an Italian-Japanese born fashion editor , stylist, and Creative Director for MUGLER, a French based fashion Design Company. He was born May 31, 1977 and grew up between Rome, Italy and Tokyo, Japan. 3 Formichetti, has no formal fashion design training4 but in 1997 briefly attended and studied architecture in London.5 Formichetti landed his career within the fashion industry by starting off as buyer and art director for a local London-based boutique, where he was personally approached by Katy England and Allasiter Makcie to contribute as a fashion editor for English Dazed & Confused magazine.6 This start led him to work with other fashion publications including Vogue Japan Hommes, V, VMAN, and Uniqlo, as well as Fashion Director for Dolce & Gabana.7 Photo Courtesy of Nicola Formichetti’s Website. Two Hustlers Creative Lab. 2012. “Nicola’s Pop Up Shop.” Nicola’s Pop Up Shop. Accessed November 20. http:// www.nicolaspopupshop.com/. Figure 8.5, pg. 26—Illustration of Nicola Formichetti’s Meat Dress for Pop-Celebrity Lady GaGa, which she wore to the 2010 MTV Video Music Awards. Photo Courtesy of MTV Website. “MTV.” 2012 Accessed September 15. “MTV” http://www.mtv.com/photos/vma-2010-lady-gaga lookbook/1647403/5198012/photo.jhtml#5198012 Figure 8.6, p. 26—Illustration of MUGLER’s Autumn/Winter 2011 Women’s Collection. Photo Courtesy of Mugler’s Website. Soleil Noir, and Thierry Mugler. 2012. “Shows” Thierry Mugler. Accessed November 20. http://www.mugler.com/ 1 Issei Miyake, Kazuko Sato, Raymond Meier, Hervé Chandès, and Fondation Cartier. Issey Miyake making things. [Paris]; Zurich; New York: Fondation Cartier pour l’art contemporain ; Scalo, 1999, pg. 150 2 “ISSEY MIYAKE INC. | ISSEY MIYAKE INC. ENGLISH”, n.d. http://www.isseymiyake.com/en/ 3 “Nicola Formichetti”, n.d http://www.mugler.com/us/en/#/12-nicola_formichetti/893-creative_director/894-creative_director 4 Rachel Rhodes. “Lord Gaga: The Man Behind the Meat Dress.” Wall Street Journal, March 5, 2011. http://online.wsj.com/article/SB1000142 4052748703559604576174822344379878.html. 5 “Nicola Formichetti”, n.d http://www.mugler.com/us/en/#/12-nicola_formichetti/893-creative_director/894-creative_director 6 Ibid 7 Ibid

CLASH A TEXTILE EXPERIENCE 54 of 55 CHEENA NICOLE RAIFORD CCA+D MASTER OF ARTS EXHIBITION DESIGN THESIS/EX7900/STUDIO B SPRING 2013/SP01 MAY 2013

A TEXTILE COUTURE EXPERIENCE illustrations

Figure 9.1, p. 27—Illustration of the Reuel Riddick, a fashion designer and fellow colleague from Norfolk State University, who left his hometown of Virginia Beach, VA to follow his dream in fashion. After working as a freelance sample maker and design assistant for several small design companies, he decided in 2010 it was time to create a business of his own. De-Mes’Tiks NYC by Reuben Reuel launched its first women’s wear label in 2010 in New York City exclusively sold on Edressme.com. Creative director and founder Reuben Reuel is dedicated to provide contemporary, classic designs with a hint of vintage flair. The aesthetic of the label is finding fabrics that inspire creativity. He sees New York City’s Garment District as a designer’s treasure chest. The label’s initiative is to support domestic commerce by using fabrics, trims, notions, and production facilities in New York City in efforts to help preserve the Garment District. De-Mes’Tiks NYC by Reuben Reuel strongly believes in its motto: “Live to create, create to live”1

Reuel Riddick. 2012. “DemestiksNewYork on Etsy.” Etxy. http://www.etsy.com/shop/DemestiksNewYork/about/.

Figure 9.2, 27—Illustration of The Partrica 2012 (23”-24” long), Reuel Riddick, African Print 100% Holland Wax Cotton/Metallic Fabric Wrap Cardigan Jacket, De-Mes’Tiks. Photo Courtesy of Reuel Riddick.

Reuel Riddick. 2012. “DemestiksNewYork on Etsy.” Etxy. http://www.etsy.com/shop/DemestiksNewYork/.

Figure 9.3, 27—Illustration of The Minne Bell 2012, Reuel Riddick, African Print 100% Holland Wax Cotton Fabric Bow Neckline Elastic Waist Full Flare Skirt 100% Cotton Dress De-Mes’Tiks. Photo Courtesy of Reuel Riddick.

Reuel Riddick. 2012. “DemestiksNewYork on Etsy.” Etxy. http://www.etsy.com/shop/DemestiksNewYork/about/.

1 “Reuel Riddick”, n.d http://www.etsy.com/shop/DemestiksNYC/about/

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