Wednesday 14 December 2011

The View from Antwerp


Shopping Centre Interior



Peter Lindbergh Exhibition at FOMU



Giant Pearls



Tree Decorations on the Meir



Christmas Lights

Tuesday 6 December 2011

Fash!on ON/OFF

It seems the interest in Fashion Film continues to build, with new outlets for the showcasing of Fashion Film. If your in or around Antwerp in Belgium this week be sure to check out the programme of the first Belgian Fashion Film Festival FASH!ON ON/OFF being hosted in the city at Cinema Zuid/FOMU. Visit www.fashionoff.be for more details on the screenings and talks to include work by Serge Leblon, Henrik Adamson, Ruth Hogben, Peter Lindbergh and Ben Trovato amongst others.









Tuesday 15 March 2011

Triumph of the City



Much as I enjoy delving into the labyrinth that is fashion theory, I am also aware of its limitations as I progress with my research. Rather than there being one theory or set of ideas, instead I find myself dipping into several, and at this point in time, seemingly disconnected theories, ideas and concepts. Apart from which I am also increasingly aware of the ''healthiness'' of stepping outside of the usual comfort-zones of looking at what seems like the same old references in relation to field of fashion. With this in mind I was glad to have take the time yesterday to attend a lecture hosted at the London School of Economics and Political Science (hardly the usual haunt of the average fashion researcher!).



Ostensibly set up to promote his new book of the same name Professor Edward L Glaeser's lecture ''Triumph of the City: how our greatest invention makes us richer, smarter, greener, healthier, happier'' proved to be a lively and topical discussion on the merits of the city. The main thrust of Glaser's discussion focused on the basic human and social needs through which cities have developed and continue to evolve: that of the need to be in contact, communicate and exchange ideas with our fellow human beings. Glaser referred to the ''paradox'' of today as being that while we are better connected today than ever before, with mobile phones, Twitter and Facebook et al we still retain the need, and desire, to cluster together in one place. He took Silicon Valley in California and also the recent up-risings in the North Africa as examples of situations where clustering together has led to important changes in, respectively, technology and politics. Yet the city as a conduit of ideas is not new, if as Glaeser, suggested we think back to ancient Athens and the cluster of great intellectual thinkers that inhabited the city at that time. Our greatest asset is our ability to learn from those we are amongst, and cities more readily facilitate that on a greater scale, what Glaeser referred to as the city's ''urban edge'' - the bringing of people together. Today this is perhaps more important as ideas become ever more complicated.

While speaking predominately from an economic point of view many of Glaeser's points also have a relevance to the developing cultural aspects of cities, and the thinking behind the ''clustering'' of specific industries and working professionals. In relation to fashion this can be viewed through the clustering of fashion in specific cities, notably the large ''Fashion Capitals'' Paris, London, Milan, New York and Tokyo. These are cities where not only fashion and textile designers are found but also trend forecasters, buyers, agents, fashion editors, photographers model agencies, and of course the events many of them can be found attending. These include shop launches, exhibition openings, catwalk shows and trade fairs. Here fashion professionals can come together and network, exchanging gossip, ideas and new leads about who or what is the next big thing. Glaeser's lecture proved extremely illuminating on the subject of what makes cities dynamic and still attractive to us all, yet it also high-lighted some of the problems cities face too. Very large cities, such as London, while a magnet for drawing in those looking to make their mark also suffer from their popularity. Or rather as Glaeser made clear, city authorities, government bodies and planning experts need to ensure that they are endeavouring to develop and encourage growth and innovation, rather than holding it back. Particularly in the case of London, the lack of capacity in terms of affordable housing and/or office/studio space is a key issue, in part because of a lack of building new property and also re-thinking what kind of properties need to be developed. Here in the UK the idea of the ''tower block'' is something taken out of a nightmare, yet in looking at the uses of space building up, rather than out, may be one of the solutions. Famed for its nurturing of fashion design talent and entrepreneurs in this field, this is something that remains a key consideration for London, and how its reputation for this may be continued in the future.

More Information:

Triumph of the City: http://www.triumphofthecity.com/index.htm

Wednesday 9 March 2011

Tonight - Fashion Loves Film


Fashion Film-maker Kathryn Ferguson will be hosting this evening's Fashion Loves Film: Art or Commerce? film screening and panel discussion at the BFI Southbank as part of the Bird's Eye View Film Festival, a celebration of women film makers. Films to be shown include those made by Linda Sterling, Katerina Jebb, Ruth Hogben and Julie Verhoeven. Few tickets still left, but selling out fast...maybe see you there?

More Information:

BFI Southbank: http://www.bfi.org.uk/whatson/bfi_southbank

Bird's Eye View Film Festival: http://www.birds-eye-view.co.uk/

Tuesday 8 March 2011

An Evening with Akiko Fukai


This evening I took the opportunity to head to the Japan Foundation in Russell Square, where Akiko Fukai, Chief Curator and Director of the Kyoto Costume Institute was speaking on the theme Japan/Fashion, followed by a Q&A discussion with Alison Moloney, Fashion Advisor at the British Council. In an introductory speech by the Japan Foundation's representatives we were informed that this was the very first time they had played host to a fashion event. Judging by the packed turnout of around 60 people in their seminar room, perhaps this will precipitate the start of more fashion-themed events to come. As the rest of the audience no doubt appreciated, this occasion offered the rare opportunity to hear from a curator working within a very different fashion and, indeed, curating culture.


Installation View Future Beauty: 30 Years of Japanese Fashion


In her brief presentation of around 20 minutes, Fukai gave us a whirlwind tour of Japanese fashion culture and its impact within Japan and beyond. Touching on the internationally recognised Japanese street style influenced by Manga, Anime, and ''kawaii'' or cuteness, Fukai also appraised the visible and invisible appropriation of Japanese aesthetics in Western culture. This ranged from the paintings of Van Gogh and Whistler, through to the ''deconstructed'' clothing of Ann Demeulmeester and Maison Martin Margiela. Through the development of Japanese designers influence on Paris fashion as showcased in the work of Hanae Mori, Kenzo, Issey Miyake, Yohji Yamamoto and Rei Kawakubo, Fukai also unpacked the three core elements Japanese design has specifically had, namely textiles, silhouette and cutting or construction. In particular the stylistic form of the kimono has influenced the pattern cutting and ornamentation of such haute couture ''greats'' as Paul Poiret, Chanel and Madelaine Vionnet. Fukai also addressed the curation of her own recent exhibition ''Future Beauty: 30 Years of Japanese Fashion'', which recently ended at the Barbican and is now being exhibited at the Haus der Kunst in Munich. Through concentrating on the chief influencers on Japanese design internationally, namely Issey Miyake, Rei Kawakubo and Yohji Yamamoto, together with a small selection of more recently established names, allowed Fukai to explore the key themes of the exhibition, including innovation and tradition in the use of textiles and silhouette, the flatness of cutting and pattern construction and the cooler, trendier aspects of ''kawaii''. As Fukai noted in her concluding comments perhaps one of the most important elements of Japanese fashion design, both in the last 30 years and today, is the ability of Japanese designers to explore and create through the co-existence of opposites, such as the seedy and the sublime, or nature versus the urban.


Jacket by Yohji Yamamoto


Following this overview of Japanese fashion culture Akiko Fukai was engaged in conversation with Alison Moloney, exploring further some of the questions raised in her talk. This conversation was extended with questions from the assembled audience. One of Fukai's key insights during this discussion was into fashion's changing status in being exhibited in art gallery context in Japan. Following similar developments in Europe, over the last ten years fashion, too, has begun to receive greater prominence in Japanese art galleries and museums, which Fukai put down not least to her own efforts and that of her colleagues at the Kyoto Costume Institute. In looking at the designers she had chosen for the recent Barbican/Haus Der Kunst exhibition, Fukai commented on how for her these designers did indeed represent Japan and Japanese-ness, even if the designer's themselves did not recognize their own work in that context. Fukai acknowledged that several Japanese designers see themselves and their work in a more rounded, international or global context, rather than as being specifically Japanese, which raises interesting questions regarding the local versus the international, or the exotic other versus the known. Further to this it was interesting to hear Fukai's thoughts on the changing fashion system, represented as she noted in the recent sacking of John Galliano by Christian Dior. As Fukai noted it used to be that recognition grew out of the talent and/or skill of individual designers, this was how Japanese designers grew to prominence during the 1970s and 1980s in Paris. During the late 1980s and 1990s, however, the power of merchandising and branding came to prominence. Today, Fukai noted how the system has changed again from the power of big name brands, to 'fast fashion''. leaving a large question mark over what will happen in the fashion industry of the future. As Fukai made clear, fast fashion needs to get its ''nourishment'' from somewhere, as it is unable to develop or recreate that for itself. As was noted by a member of the audience it appears fast fashion has won, as firms like Uniqlo grow ever larger, yet Yohji Yamamoto was recently forced into liquidation. Yet for Fukai this appeared to be too simplistic a notion, instead she asserted that perhaps the future of fashion lies in a ''return to basics'', with people deciding for themselves what they find comfortable to wear. This could be purchasing ''one off'' items, or customisation of existing clothing, yet also clothing that is easily affordable and obtainable is also included in this equation, including Uniqlo. Fukai cited their J+ tie-up with Jil Sander as a possible indicator of what the future might bring. In addition, Yohji Yamamoto is not yet totally obsolete, since his work is set to be explored and celebrated in an exhibition opening shortly at the V&A, which perhaps will help to inspire the next generation of designers attending Britain's fashion schools.


Shirt from J+ Uniqlo

Overall, this was an interesting and lively debate in matters surrounding curation, identity, and the context and perceptions of a specific fashion culture. It will be interesting to see if the Japan Foundation decide to take this further in introducing a series of lively and topical debates on similar themes. But as for the burning question of the evening, who is Akiko Fukai's favourite designer? Well she was her own best ambassador, wearing an outfit by Comme des Garçons. As Fukai acquiesced, it is Rei Kawakubo's way of making her question that really appeals to her sensibility as a curator of fashion.



For further Information:

Kyoto Costume Institute: http://www.kci.or.jp/index.html?lang=en

Japan Foundation: http://www.jpf.org.uk/

Haus der Kunst, Munich: http://www.hausderkunst.de/

Monday 31 January 2011

Quote of the Month


Norman Parkinson for Queen Magazine, 1960


Recognition comes when you can name any city and a flood of connections are made that unfold in layers... Together they make a story. These are a mix of realities and perceptions. The city in its totality is a bundle of associations and has connotations from the physical to the intangible, to stories, images, products or even ideas.

Landry, Charles, 2008, The Creative City: A Toolkit for Urban Innovators, London and Sterling, VA: Earthscan.

This month's quote comes courtesy of Charles Landry, one of the most significant thinkers and practitioners in the field of city planning, in particular in relation to realizing the creative potential of cities for civic and economic good. I made use of this quote in a recent written piece to accompany my recent exhibit in the Work-in-Progress exhibition, which set about portraying the importance of evoking the Fashion City through imagery, including advertising and fashion editorials. What is intriguing about Landry's thoughts here is the idea of the ''layering'' of a given city's reputation built-up over time. Many city's have attempted, and often failed, to develop their reputations as centres of culture, yet this kind of status cannot be created out of nothing, and neither can it be created over night. Both the city's inhabitants and it's outside audience, such as tourists or potential investors, have to believe that such a ''story'', as Landry puts it, exists as much in reality as it does in the glossy images the city wishes to project. In short, the city's ''story'' cannot be ''faked'', it has to be ''authentic'', in real terms, as much as in perception. This is as important for a city that wishes to establish itself as a ''Fashion City'' as any other which might focus on art, architecture, music of film as its marker of cultural status. Concerning the Fashion City, much of the layering of the story is made in the creation of fashion imagery for fashion editorials in glossy magazines and advertising by the leading fashion brands. In the case of London this comes through photographing fashion in the streets, posing models against iconic landmarks, or making use of the ''icons'' of the city, of which London has many, from bright red buses and telephone boxes, through to the black Hackney cabs and bearskin hats of the Queen's Guard. Located in the physical locality of the city, these are much a part of London's fashion ''legend'' as they are an evocative and glamorous stimulus in developing imaginations.