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2017, Fashion Curating: Critical Practice in the Museum and Beyond,
This chapter examines the integral role that conservation plays within fashion curation.
Critical Studies in Fashion & Beauty
Fashion as an event: Conservation and its digital (dis)contents2019 •
Fashion conservators face documentation challenges specific to the very nature of fashion objects, including their fragile and ephemeral materialities, three-dimensionality and inherently mutable forms. Conservation documentation is, in this sense, central to the definition of an object in a museum, moving beyond its practical and bureaucratic function of capturing an object’s current state and the treatment undertaken to address its problems. This article presents an insight into the work of the conservator and reflects on the different issues connected to digital and non-digital documentation practices within a fashion museum. It explores the ways in which a fashion conservator generates technical documentation to capture information regarding the methods of an object’s creation and what might have been done to it before it entered the museum. What is this archive of conservation documentation and how is it made? Who uses it and what do they do with it? How do conservators document fashion and are they successful in capturing its temporal values? This article provides answers to these questions, exploring an overlooked practice and readdressing the agency of the fashion conservator in the definition of fashion in the museum.
The recent rise of the blockbuster fashion exhibition has underpinned a renewed interest in the topic of garment curation and preservation, encouraging academics from emerging disciplines, such as museum studies and fashion studies, as well as established institutions, to re-evaluate the presence of fashion in the museum. This increasing institutional and curatorial interest has led to a new research dynamics centered around the museum as an agency that can broaden and deepen our understanding of fashion.
Proceedings of the 2nd CIMODE International Fashion and Design Congress
“Fashion Curating. Issues in Theory and Practice of Fashion Exhibited”, Marchetti, L.2014 •
The paper proposes an original approach to curating exhibitive projects in contemporary fashion. It presents theoretical premises according in parallel with a critical reading of chosen applied projects. The first part of the paper discusses the pertinence and the legitimacy of fashion curating within the context of contemporary fashion culture and aesthetics. The second part focuses on fashion exhibitive projects chosen to highlight how these achieve to reveal pivotal aspects of fashion and culture. These findings introduce a critical presentation of four exhibitive projects questioning specific curatorial and critical approaches to fashion. The third part merges a comparative reading of different notions of “curating” with an understanding of fashion liable to lead to a hypothesis of fashion curating founded on the sensorial features of exhibited works and the syntax established between them within the exhibition.
This paper proposes a multidisciplinary approach for fashion criticism in museology through an analysis of the 2014 Charles James's retrospective. It includes the following elicitations. First, it explores a critical discussion of " dress museology " as well as " fashion museology " and the complexity of fashion in museums. Second, this paper reorganizes Fleming's (1974) artifact study and Crane and Bovone's (2006) critical theory for fashion criticism in museology by comparing " object-based " research with an " academic " approach. Third, it applies fashion criticism methodology as a case study to the aforementioned museum fashion exhibit, entitled <Charles James: Beyond Fashion>. We can subsequently begin to reconsider concepts of art and fashion within present culture based on inclusive fashion criticism of aesthetic and cultural events.
Springer proceedings in business and economics
Rethinking Fashion Storytelling Through Digital Archives and Immersive Museum Experiences2023 •
ICOM-CC 18th Triennial Conference Copenhagen Preprints
A Materials- and Values-Based Approach to The Conservation of Fashion2017 •
The conservation field designates professionals preserving fashion artifacts as textile conserva-tors owing to the prevalence of fibers found in clothing. However, if one switches from a materials-based conservation approach to a values-based one, the automatic association of " fashion " with " textiles " disappears. This is because " fashion " exists as both an object and a system. Correspondingly, fashion conservation is best realized when utilizing both materials-based (fashion-as-object) and values-based (fashion-as-system) paradigms for the preservation of clothing. A materials-based paradigm emphasizes fashion's relationship to the three-dimensional body and the presence of mixed media, while a values-based paradigm challenges conservators to tackle values of ephemerality and temporality in their mandate. Ultimately, fashion's duality as both object and system warrants critical discussion within the conservation community as necessitating a distinct approach to its preservation.
Futurescan 2: Collective Voices
Awaken: Contemporary Fashion and Textile Interpretation of Archival Material2013 •
The Archives and Collections Centre (ACC) at The Glasgow School of Art (GSA) exists as a resource for the study of art, design, architecture and education. It comprises a wide range of material from School records, textile pieces, garments, pattern books, posters, artworks, architectural drawings, plaster casts, photography and a collection of works by Charles Rennie Mackintosh. This paper describes Awaken, a research project undertaken involving staff from the ACC, the Department of Fashion and Textiles, and the Centre for Advanced Textiles (CAT) at GSA. The project examined the conceptual possibilities of re-interpreting archive material for contemporary fashion and textile related design work. This was underpinned by an explication of the creative process characteristic of this specific approach to design. The following questions directed the project: • To what extent will the ideas produced be derivative or unoriginal? • Will we be re-interpreting, reproducing, initiating, appropriating, parodying or deliberately abstracting? Or will archive material simply act as a prompt, a trigger, or ‘fodder’? • How will working from archive material differ from our normal working practice? • Will we be collaborating with the originator of the archive piece? • To what extent will we make sense of the original artefact by working from it? Awaken involved case studies with fashion and textile practitioners working individually and collaboratively. Data collection methods involved the practitioners observing, recording and reflecting on responses and processes using creative process journals (CPJs) and focus groups to stimulate critical reflection, share, question and articulate issues associated with the research. Content analysis provided the framework to relate the data collected to the key questions and emergent themes. The resulting fashion and textile artefacts were exhibited alongside extracts from CPJs and original archive material in the Mackintosh Gallery at the GSA. Aspects of the project were assimilated with visual material in a publication, which accompanied the exhibition. This paper will provide insight into the Awaken project, detailing the archival items practitioners selected, the approaches taken, insights into the creative process, the contemporary artefacts produced and discussions surrounding the research questions and key themes. The findings from the project will be described, adding to the minimal existent literature surrounding fashion and textile design creative process involving the utilisation of archival material. The paper will also briefly describe a research project currently in progress by the authors involving the Stoddard Templeton Design Archive at the GSA.
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