Archives par mot-clé : Fashion

Textiles Collection

The rich and stimulating collection of world textiles at the University for the Creative Arts at Farnham has supported the practical study of woven and printed textiles for over forty years.

The Textiles Collection is a working collection, originally established by Ella McLeod. Its over-arching purpose has been to provide real examples that demonstrate the application of a broad range of textile techniques and processes – encouraging students to handle textiles and to respond to their qualities; to question and analyse them as a primary source. The Textiles Collection plays a central role in stimulating creative investigation and supporting students in their understanding of the factors influencing textile design and production.

The collection consists of over 3,000 artefacts. Woven textiles range from an important collection of Coptic textiles from 800-1000 AD through to British woollen cloths, Kashmir shawls, African strip weaving and Scandinavian furnishing fabrics from 1950 to 1990.

Notable designers and hand weavers of the twentieth century are represented – Alice Hindson, Paula Trock, Rita Beales, Marianne Straub and Peter Collingwood. Muriel Rose, patron of the crafts in the 1920s and 30s, and Crafts Officer of the British Council in the 1950s, bequeathed a valuable collection of block printed textiles produced by the influential craftswomen, Phyllis Barron and Dorothy Larcher. Further examples of printed textiles include English and French engraved roller prints from 1750 to 1850 and work by significant contributors to the subject through the nineteenth and twentieth centuries – William Morris, Joyce Clissold, Enid Marx, Susan Bosence and Sally Greaves-Lord.

The result is a rich and varied textiles collection of major interest to practitioners and historians, valued both as an educational resource and as a foundation for new research.

 » Ballgowns : British Glamour since 1950  » By Sonnet Stanfill & Oriole Cullen, eds. Photography by David Hughes

This innovative book presents dynamic and interpretive photographs of British ballgowns spanning 60 years and includes designs by Alexander McQueen, Bellville Sassoon, Bill Gibb, Erdem, Gareth Pugh, Stella McCartney and Zandra Rhodes. The specially commissioned photographs, by fashion photographer David Hughes, are supplemented by essays exploring the ballgown as a particularly British garment, with designers, clients and occasions unique to Britain. The social season of debutante parties and private balls, weddings and charity events have long provided Britain’s fashion designers with opportunities to design elaborate, tour de force eveningwear. In more recent years the ballroom has been replaced by the red carpet. Though the context has changed, the ballgown remains a staple in many designers’ collections and continues to serve as an expression of status, protocol and taste, while simultaneously embodying elements of drama and fantasy.
this publication.

Sonnet Stanfill is curator of 20th century and contemporary fashion at the V&A. Oriole Cullen is curator of modern textiles and fashion at the V&A. David Hughes is a portrait, still life and fashion photographer. Magda Keaney is Curator of the Fashion Space Gallery at the London College of Fashion.

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Plein les yeux : Le spectacle de la mode !, du 16 janvier au 28 avril 2013, Cité internationale de la Dentelle et de la Mode, Calais

Exposition visible du 16 janvier au 28 avril 2013

Avec la nouvelle exposition Plein les yeux ! Le spectacle de la mode, découvrez des parures extraordinaires des élites d’hier et d’aujourd’hui. Comment les rois, princes, aristocrates, grands bourgeois ou encore les stars s’habillent les grands jours ? Les imposantes fraises renaissance, les corsets qui affinent la taille, les impressionnantes robes à paniers ou à crinoline, les broderies qui scintillent de mille feux… Ces codes vestimentaires ont traversé les siècles jusqu’à être réinterprétés aujourd’hui encore.




Ainsi, la Cité de la dentelle sort de ses réserves des pièces exceptionnelles, complétées par des prêts de grandes institutions (musée national de la Renaissance, CNCS, Comédie-Française, Cinémathèque française). Costumes et accessoires historiques côtoieront ceux du spectacle et de la Haute-Couture : les robes mythiques d’Adjani en Reine Margot, de Scarlett O’Hara dans Autant en emporte le vent, des tenues signées Dior, Chanel, Givenchy, Jean-Paul Gaultier, Thierry Mugler… Des portraits peints, affiches de cinéma et extraits de films recontextualiseront ces costume extraordinaires.

Pour finir la visite en beauté, mettez-vous en scène grâce aux répliques à essayer !