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Fashion on the move Bild 1

Fashion on the move

Paris (F) > 16.06.2023 - 15.03.2024

From 16 June 2023 to 15 March 2024, the Palais Galliera is presenting "La Mode en mouvement" [‘Fashion on the Move’], its second collections exhibition in the garden floor galleries. This chronological exhibition, featuring some 200 works, traces the history of fashion from the 18th century to the present day through the museum’s collections, while also developing a transversal theme on the body in movement. In resonance with the Olympic and Paralympic Games that are to be held in Paris in 2024, the Palais Galliera examines the part played by clothing in physical and sporting activities, its relationship to the body and to movement, and the social consequences of its development. Garments designed for physical and sporting activities are presented alongside everyday clothing. This dialogue casts light on the idea of how sportswear became specialised, how women’s wear was adapted for physical activity at the end of the 19th century, the masculinisation of women’s clothing, and the adoption of sportswear as clothing for everyday life. The changing image of the body, particularly the athletic body, and the way it has been accentuated by clothing, is highlighted in order to show how the liberation of the body through physical activity has contributed to changing mentalities and beauty standards. Swimming costumes, cycling outfits, side-saddle habits, motoring coats and accessories, jogging suits, and sneakers all reflect the distinct silhouettes of three centuries of fashion history.

Text- und Bildquelle: Museumswebsite

Veranstalter/ Ort
Palais Galliera
10 avenue Pierre 1er de Serbie
Paris 16e, 75116 Paris

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300 years of underwear Bild 1

300 years of underwear

Amsterdam (NL) > bis 16.06.2024

under/wear is a Rijksmuseum Special Collections display tracing shifts in underwear trends between 1640 and 1940 – from linen underpants belonging to 17th-century Dutch ruler Hendrik Casimir I to early 20th-century stocking suspenders. Underclothing was purely functional in the 17th century, but from the 19th century onwards undergarment increasingly became subject to changes in fashion. This was the era of corsets, petticoats, crinolines, chemise undershirts and ‘directoire’ knickers.

Textquelle: Museumswebsite

Veranstalter/ Ort
Rijksmuseum Amsterdam Museumstraat 1
1071 XX Amsterdam

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Designed to dry - Kitty van der Mijll Dekker X Vera Roggli Bild 1

Designed to dry - Kitty van der Mijll Dekker X Vera Roggli

Tilburg (NL) > 27.1.2024 - 12.1.2025

Our relationship with household textiles has changed considerably over the years. In the damask presentation, you will discover more about this history and dive into the story of the - at the time - leading designer Kitty van der Mijll Dekker. This history inspired contemporary designer Vera Roggli. In the 19th and early 20th centuries, people handled household textiles differently than today. For instance, you had different types of cloths in your kitchen, each with its own function (the 'pot cloth', the tea towel, the cook's towel, etc.), the upper class would bring out the pure white damask table linen for special guests or occasions, and young women would collect all the pieces of their textile trousseau in preparation for marriage. The products were often simple in design and mainly focused on functionality. Kitty van der Mijl Dekker is one of the first textile designers of the era to change this.

Bild - und Textquelle: Museumswebsite

Veranstalter/ Ort
TextielMuseum - TextielLab
Goirkestraat 96
5046 GN Tilburg

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Cabarets Bild 1


Moulins (F) > 09.12.2023 - 30.04.2024

À partir du samedi 9 décembre 2023, le Centre national du costume et de la scène propose une exposition sur le thème du Cabaret. 120 costumes provenant de maisons historiques comme le Paradis Latin, le Moulin Rouge, le Lido, le Crazy Horse ou de Chez Michou, ainsi que d’artistes indépendants, qui peuplent les nouveaux cabarets « indisciplinaires », illustrent le large spectre de la création depuis l’excellence des métiers d’art, ateliers spécialisés, créateurs haute couture, jusqu’à celle de la débrouille géniale où tout est imaginé pour faire rêver et proposer une soirée d’exception, hors du quotidien. Un parcours où se croisent de grandes figures comme Line Renaud, Zizi Jeanmaire, Dalida, Barbara, Jean-Marie Rivière, Michou et les créatures fantasques d’aujourd’hui comme la Big Bertha, l’Oiseau Joli, Kiki Béguin, Lola Dragoness Von Flame, Miss Knife… qui revisitent le cabaret avec élégance et insolence.

Bild- und Textquelle: Museumswebsite

Veranstalter/ Ort
Centre national du costume et de la scène
Quartier Villars - Route de Montilly
03000 Moulins

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Folk Dress - Festive Dress and Workwear Bild 1

Folk Dress - Festive Dress and Workwear

Oslo (NO) > Dauerausstellung

The independent farmer had an important position in pre-industrial society in Norway. This led to a strong focus on rural culture in the construction of a Norwegian identity toward the end of the 19th century.

Folk Dress
“Folk dress” describes clothing worn by rural people for everyday work, for churchgoing and for other special occasions. Clothes could be distinctive for the region or more generally influenced by urban and European fashion. Regional folk dress could also change over time, partly inspired by international fashion as well as a result of local innovation. Local variations in dress increased noticeably during the 19th century. In some areas, traditional folk dress was in use far into the second half of the 20th century. While fashion is usually categorized chronologically, folk dress has often been sorted according to region. The earliest portrait of a Norwegian farmer and his family (1699) shows a Renaissance influence on rural clothing. Although the portrait comes from the Hallingdal region, the clothing strongly resembles dress used at same time in other areas in southern Norway.

Bunads are clothes with historical elements used today only for festive occasions. In some areas, there was a seamless transition from traditional folk dress. In other areas bunads adopted elements from folk dress, such as embroidery, but changed the shape and cut of the garments. Some bunads have been designed in the course of the last century, often with little or no real historical connection. There are approximately 500 different types of bunads in production today. More than 60% of Norwegian women own a bunad.The type of silver worn with traditional folk dress is still used as a part of modern bunads. As a consequence, Norway has a strong living tradition of filigree silver jewelry.

Sami Dress
Traditional Samí clothing is neither characterized as folk dress nor as bunad. An unbroken tradition exists in Samí culture and, even though Samí dress is constantly changing, some medieval traits remain. Samí dress shows great regional variety, largely following dialect boundaries.Today, a vibrant creativity is expressed both in contemporary Samí fashion and jewelry design. Simultaneously, there is a dynamic use of traditional clothing. Many Samí also combine traditional elements with modern garments, to show identity and belonging.

Textquelle:  Museumswebsite, Bildquelle: @Haakon Michael Harris / Norsk Folkemuseum

Veranstalter/ Ort
Norsk Folkemuseum
Museumsveien 10, Bygdøy,
0287 Oslo

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Dressed with pride Bild 1

Dressed with pride

Jyväskylä (FI) > Dauerausstellung

The Dressed with Pride section at the National Costume Center of Finland presents traditional outfits from different parts of Finland in various eras. The exhibition also explores the history and the manufacturing methods behind the costumes. The exhibition draws attention to the remarkable level of detail in the costumes: flax and wool fabrics, pewter brooches, colourful stripe patterns on the skirts, headgear, pockets…

Finnish national costumes replicate peasant festive costumes from the 18th and 19th centuries. They continue the popular festive costume tradition, which includes skilfully crafted accessories from felt hats to bonnets, felted wool capes to silk aprons – all hand-decorated using elaborate techniques. Traditional festive costumes often combine various craft skills as well as typical features and materials from different eras. Parts of the costumes were home-made, parts bought or tailor-made by professionals. This tradition lives on in national costumes. The exhibition also raises questions. What happened to these carefully crafted items when they were no longer used?

Text- und Bildquelle: Museumswebsite

Veranstalter/ Ort
The Craft Museum of Finland
Kauppakatu 25
40100 Jyväskylä

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Unpicking Couture Bild 1

Unpicking Couture

Manchester (GB) > 21.07.2023 - 12.01.2025

Unpicking Couture premieres spectacular high-end fashion which has recently entered Manchester Art Gallery’s collection. Created by influential designers and fashion houses, each outfit represents a groundbreaking moment in fashion and includes works by Christian Dior, Elsa Schiaparelli, Azzedine Alaïa, Cristobal Balenciaga, Pierre Cardin, Vivienne Westwood, Yohji Yamamoto, Bruce Oldfield and Alexander McQueen. This exhibition celebrates pioneering creativity and design. The two main themes of the show are: investigating the links between fashion and emotions, in the form of dopamine dressing which encourages dressing for joy, and focusing on repair and restoration, inviting us to consider the lifecycle of a garment and the way it is valued and cared for. The exhibition will reveal the recent restoration of a 1930s silk velvet jacket by Italian couturier Elsa Schiaparelli, Unpicking Couture promotes sustainable approaches to repairing and preserving much loved and well-worn clothes. The garments will be on display for the first time. They were acquired through a National Heritage Lottery Fund Collecting Cultures grant from 2015-20. Unpicking Couture will expose the work that underpins the care of dress collections through a mediative film that captures the process of dress mounting and how the craft and skill involved, mirrors the work of dressmakers and couturiers. Innovative display techniques have been developed in conjunction with Dr. Jeff Horsley from the Centre for Fashion Curation, London College of Fashion and Dr Angela Piccini from the School of Art, Design and Architecture, University of Plymouth, including dynamic visual and spatial strategies and a focus on the making of the exhibition. These lively modes of presentation provide encounters for fashion as stimulation and immersion, enabling slow looking and inspiring conversation. Part display and part studio space, Unpicking Couture activates ideas around the value and care of collections, sustainability, expression of self, making and creativity.

Text- und Bildquelle: Museumswebsite

Veranstalter/ Ort
Manchester Art Gallery | Gallery of Costume
Mosley Street,
Manchester, M2 3JL

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Oh Boy! Boy’s Dress 1760-1930 Bild 1

Oh Boy! Boy’s Dress 1760-1930

London (GB) > 29.09.2023 - 03.03.2024

The Fashion and Textile Museum is excited to present Oh Boy! – an exploration into historical boy’s dress. Curated by leading fashion historian Amy de la Haye, alongside renowned expert collector Alasdair Peebles, experience an unrivalled collection of an often-undervalued area of fashion history, spread over two acts.

29 September – 16 December 2023
Act One: Breeched: No More Dresses explores the ceremony of entry to the masculine world, taking place after six years of age, through abandoning dresses in favour of breeches, focusing on 1760 through to 1810. Featuring a dimity gown and coat; a robust three-piece fustian breeches suit and a block-printed skeleton suit, alongside other fascinating pieces.

21 December 2023 – 3 March 2024
Act Two: Ship Shape delves into the vogue for nautical wear dating from 1860 to 1930. Starting with a miniature suit that an Admiral had made for his young son and including linen and wool serge suits, loosely inspired by naval dress, accompanied by accessories.

The space will be imaginatively adorned, showcasing Alasdair’s skills as a decorative period interior painter and will narratively explore the topic of collecting.

Text- und Bildquelle: Museumswebsite

Veranstalter/ Ort
Fashion and Textile Museum
83 Bermondsey St
London SE1 3XF

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Sterne, Federn, Quasten. Die Wiener-Werkstätte-Künstlerin ... Bild 1

Sterne, Federn, Quasten. Die Wiener-Werkstätte-Künstlerin Felice Rix-Ueno (1893–1967)

Wien (A) > 22.11.2023 - 21.04.2024

Sie war eine der bemerkenswertesten Künstler:innen der 1903 gegründeten Wiener Werkstätte (WW): Felice Rix-Ueno entwickelte einen unverwechselbaren, hochpoetischen Stil, der den Look der WW entscheidend mitprägte. Er zeigt sich in Hunderten Entwürfen, vor allem für Stoffmuster, aber auch für Tapeten, Stickereien, Emailarbeiten, Mode- und Wohnaccessoires, Spielzeug und Gebrauchsgrafik. In ihrer zweiten Heimat Japan reüssierte sie darüber hinaus als Universitätsprofessorin und Gründerin eines eigenen Designinstituts. Das MAK widmet dieser einzigartigen Gestalterin, deren Geburtstag sich heuer zum 130. Mal jährte, die erste Personale außerhalb Japans und bietet in der Ausstellung STERNE, FEDERN, QUASTEN. Die Wiener-Werkstätte-Künstlerin Felice Rix-Ueno (1893–1967) mit rund 200 Objekten einen umfassenden Einblick in das form- und farbenprächtige Œuvre.

Text- und Bildquelle: Museumswebsite

Stubenring 5
1010 Wien

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Hard/ Soft. Textil und Keramik in der zeitgenössischen Kunst Bild 1

Hard/ Soft. Textil und Keramik in der zeitgenössischen Kunst

Wien (A) > 13.12.2023 - 20.05.2024

Während Textil mit Wärme und Flexibilität assoziiert wird, strahlt die aus weichem Ton oder Lehm geformte Keramik eine kühle Zerbrechlichkeit aus. Und doch zeichnen sich beide Medien durch eine erlebbare Formensprache aus, die zwischen hart, weich, sperrig und fließend changiert. Die Materialien, Formen und Bedeutungen der ausgewählten Objekte eröffnen ein breites Spektrum von Ambivalenzen, Unschärfen und Gleichzeitigkeiten.

Zu sehen sind Arbeiten von rund 40 österreichischen und internationalen Künstler*innen, die in ihrer künstlerischen Praxis auf handwerkliche Techniken wie Sticken, Knüpfen und Weben oder Formen, Kneten und Brennen zurückgreifen. Die Skulpturen, Installationen und malerischen Arbeiten, zu denen auch Stickbilder, Patchworks und Tapisserien zählen, zeigen vielfältige künstlerische Ansätze und Schnittstellen zwischen bildender und angewandter Kunst, Architektur, Musik und dem digitalen Raum. Sie eröffnen Einblicke in Produktionsweisen, Ateliers, Werkstätten und Prozesse der disziplinenübergreifenden Zusammenarbeit. Textil und Keramik vermitteln sich hier als kulturelle Träger von Gemeinschaften; sie sind in ökonomische und politische Systeme eingeschrieben. Neben Materialeigenschaften werden insbesondere feministische Anliegen, die Auseinandersetzung mit dem Körper, Fragen der kulturellen Aneignung sowie Geschlechterzuschreibungen zur Diskussion gestellt.

Text- und Bildquelle: Museumswebsite

Stubenring 5
1010 Wien

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