New York - Rachel Bevilacqua (France USA Media)
(Photo: Courtesy of The Metropolitan Museum of Art / Anna Marie Kellen) MET NYC dedicates a major exhibition of the role model in our society. In America, the craze is officially part of the art world. Explanations of the Conservative and the Commissioner. In 1946, the prestigious MET NYC has its beautiful building built in the Costume Institute, and ever since, the museum dedicates five hundred square feet of its space to the user to gather evidence and documents that constitute the history of this discipline. Not only. The museum also organizes two major annual exhibitions who decipher the world of clothing and Vogue magazine, a partner of the event, organized each year, most people for a dinner to raise funds for the museum. Last May, at the opening of "The Model as Muse: Embodying Fashion", the amount collected will cover the operating costs of the Costume Institute. This exhibition is a reflection conducted on the role models in society as Twiggy, Jean Shrimpton, Peggy Moffitt and Naomi Campbell have played a role in the evolution of morality. In America, fashion is part of the artistic landscape. In France, this is not the case. It is indeed difficult to imagine yet Beaubourg or any institution of this scale presents important exhibitions on fashion. Fashion is partitioned and exists only within the fashion museum and its dependencies. Interview with Harold Koda, curator of the Costume Institute at the Metropolitan Museum of Art and Kohle Yohannan, independent curator who has worked closely with "The Model as Muse."
Fashion is part of the MET as well as painting, sculpture, photography, makes it also part of the art world? Harold Koda: Michele Obama recently talked about fashion as if it was an art. In reality, fashion is not yet regarded as art. The debate continues, partly because fashion is utilitarian. A priori, to my mind, yet sunny days in France and the USA. Fashionable yet belongs to the world of art defined by people like the Dadaists and Andy Warhol. Some artistic expressions pass through clothing design. In addition, the contradiction between art and consumption faded through the work of artists who joined the trade issue to their thinking. It is therefore not surprising to see art in Vionnet's dresses, coats or dresses Balenciaga Alaia bandage. The design of these parts is audacious, technically, they are highly refined and visually, they are beautiful. Kohle Yohannan: I feel that fashion takes the same route as the photo that has been recognized as an art until recently. And it's even more true for commercial photography. In America, we have no history to which we attach, so we had to find a way to make our ideas exist. The country has entered the field of novelty and innovation. The Americans and demonstrate a sincere unbridled imagination because creativity is not determined by rules of behavior. In fashion, it is therefore concerned with how clothes are worn. A woman can dress like a duchess, even if it is only a half-worldly. The ability to be able to change roles is necessary for a country built on the renewal. In Europe, innovation and technology are still poorly perceived because what counts is the knowledge that one is passed from one generation to another. American fashion is yet beyond the idea of the emergence of a new art form as it is present in an institution like the Met. Kohle Yohannan: Fashion elevated to art forms in American culture. The car is an art form. America looks very carefully the evolution of an industry in society. America has no value on the scale of excellence. The object created by a worker in his factory as valuable as the dish concocted by a four-star chef. We are a society based on meritocracy. It is the interest of the nation that decides the value of what is produced. In America, anything is possible and that is why the mood is anti-elitism.
"The Model as Muse: Embodying Fashion" until August 9, 2009
(Photo: Courtesy of The Metropolitan Museum of Art / Anna Marie Kellen) MET NYC dedicates a major exhibition of the role model in our society. In America, the craze is officially part of the art world. Explanations of the Conservative and the Commissioner. In 1946, the prestigious MET NYC has its beautiful building built in the Costume Institute, and ever since, the museum dedicates five hundred square feet of its space to the user to gather evidence and documents that constitute the history of this discipline. Not only. The museum also organizes two major annual exhibitions who decipher the world of clothing and Vogue magazine, a partner of the event, organized each year, most people for a dinner to raise funds for the museum. Last May, at the opening of "The Model as Muse: Embodying Fashion", the amount collected will cover the operating costs of the Costume Institute. This exhibition is a reflection conducted on the role models in society as Twiggy, Jean Shrimpton, Peggy Moffitt and Naomi Campbell have played a role in the evolution of morality. In America, fashion is part of the artistic landscape. In France, this is not the case. It is indeed difficult to imagine yet Beaubourg or any institution of this scale presents important exhibitions on fashion. Fashion is partitioned and exists only within the fashion museum and its dependencies. Interview with Harold Koda, curator of the Costume Institute at the Metropolitan Museum of Art and Kohle Yohannan, independent curator who has worked closely with "The Model as Muse." Fashion is part of the MET as well as painting, sculpture, photography, makes it also part of the art world? Harold Koda: Michele Obama recently talked about fashion as if it was an art. In reality, fashion is not yet regarded as art. The debate continues, partly because fashion is utilitarian. A priori, to my mind, yet sunny days in France and the USA. Fashionable yet belongs to the world of art defined by people like the Dadaists and Andy Warhol. Some artistic expressions pass through clothing design. In addition, the contradiction between art and consumption faded through the work of artists who joined the trade issue to their thinking. It is therefore not surprising to see art in Vionnet's dresses, coats or dresses Balenciaga Alaia bandage. The design of these parts is audacious, technically, they are highly refined and visually, they are beautiful. Kohle Yohannan: I feel that fashion takes the same route as the photo that has been recognized as an art until recently. And it's even more true for commercial photography. In America, we have no history to which we attach, so we had to find a way to make our ideas exist. The country has entered the field of novelty and innovation. The Americans and demonstrate a sincere unbridled imagination because creativity is not determined by rules of behavior. In fashion, it is therefore concerned with how clothes are worn. A woman can dress like a duchess, even if it is only a half-worldly. The ability to be able to change roles is necessary for a country built on the renewal. In Europe, innovation and technology are still poorly perceived because what counts is the knowledge that one is passed from one generation to another. American fashion is yet beyond the idea of the emergence of a new art form as it is present in an institution like the Met. Kohle Yohannan: Fashion elevated to art forms in American culture. The car is an art form. America looks very carefully the evolution of an industry in society. America has no value on the scale of excellence. The object created by a worker in his factory as valuable as the dish concocted by a four-star chef. We are a society based on meritocracy. It is the interest of the nation that decides the value of what is produced. In America, anything is possible and that is why the mood is anti-elitism.
"The Model as Muse: Embodying Fashion" until August 9, 2009
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