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Viktor & Rolf is a Dutch avant-garde luxury fashion house founded in 1993 by Viktor Horsting and Rolf Snoeren. For more than twenty years, Viktor & Rolf have sought to challenge preconceptions of fashion and bridge the divide between fashion and art. Viktor & Rolf have designed both haute couture and ready-to-wear collections. The duo is renowned for their avant-garde designs, which rely heavily on theatrical and performative fashion runways.
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The Met Gala, formally called the Costume Institute Benefit, is the annual haute couture fundraising festival held for the benefit of the Metropolitan Museum of Art's Costume Institute in Manhattan. The Met Gala is popularly regarded as the world's most prestigious and glamorous fashion event. Fashion stars and models are able to express themselves by their fit according to the theme and social gathering. The event is known as "fashion's biggest night"; an invitation is highly sought after. Personalities who are perceived to be culturally relevant to contemporary society amongst various professional spheres, including fashion, film, television, music, theater, business, sports, social media and politics, are invited to attend the Met Gala, organized by the fashion magazine Vogue. The entry price for one ticket has risen to US$75,000 in 2024, an increase from $50,000 in 2023, to attend the annual gala in the world's principal financial center and fashion capital, New York City.
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Ellen Driscoll is a New York-based American artist, whose practice encompasses sculpture, drawing, installation and public art. She is known for complex, interconnected works that explore social and geopolitical issues and events involving power, agency, transition and ecological imbalance through an inventive combination of materials, technologies, research and narrative. Her artwork often presents the familiar from unexpected points of view—bridging different eras and cultures or connecting personal, intimate acts to global consequences—through visual strategies involving light and shadow, silhouette, shifts in scale, metaphor and synecdoche. In 2000, Sculpture critic Patricia C. Phillips wrote that Driscoll's installations were informed by "an abiding fascination with the lives and stories of people whose voices and visions have been suspended, thwarted, undermined, or regulated." Discussing later work, Jennifer McGregor wrote, "Whether working in ghostly white plastic, mosaic, or walnut and sumi inks, [Driscoll's] projects fluidly map place and time while mining historical, environmental, and cultural themes."
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AngloMania: Tradition and Transgression in British Fashion was an exhibition curated by Andrew Bolton at the Metropolitan Museum of Art that ran from May 3 to September 4, 2006. The exhibition featured fashion from throughout Europe in the eighteenth-century that was influenced directly by British attitudes, ideas, and trends. However, these were not accurate depictions of British fashion, but idealized depictions of "a nation's notorious vanity, a romance with itself, and the eccentric desire of English designers to re-establish the establishment." The exhibit is composed of nine "theatrical installations containing clothed mannequins and paintings" that contrasted historical and modern aspects of fashion.
Heavenly Bodies: Fashion and the Catholic Imagination was the 2018 high fashion art exhibition of the Anna Wintour Costume Center, a wing of The Metropolitan Museum of Art (MMA) which houses the collection of the Costume Institute.
Joan Moment is an American painter based in Northern California. She emerged from the 1960s Northern California Funk art movement and gained attention when the Whitney Museum of American Art Curator Marcia Tucker selected her for the 1973 Biennial and for a solo exhibition at the Whitney in 1974. Moment is known for process-oriented paintings that employ non-traditional materials and techniques evoking vital energies conveyed through archetypal iconography. Though briefly aligned with Funk—which was often defined by ribald humor and irreverence toward art-world pretensions—her work diverged by the mid-1970s, fusing abstraction and figuration in paintings that writers compared to prehistoric and tribal art. Critic Victoria Dalkey wrote that Moment's methods combined chance and improvisation to address "forces embodied in a universe too large for us to comprehend, as well as the ... fragility and transience of the material world."
References
- 1 2 3 "Katell le Bourhis by Elizabeth Cannon – BOMB Magazine". bombmagazine.org. March 7, 1993. Retrieved September 26, 2020.
- 1 2 3 4 5 Costume Institute (New York, N.Y.), ed. (1992). Fashion and history: [installation photographs, wall text] a dialogue, December 7, 1992 – March 21, 1993.
- ↑ Tobi Tobias (March 7, 1993). "Design for living". washingtonpost.com. Retrieved September 26, 2020.
https://fashionexhibitionmaking.arts.ac.uk/fashion-and-history-a-dialogue/
