Fashion curating : critical practice in the museum and beyond.

Enhanced descriptions from Syndetics:

As the practice of fashion curation extends into commercial galleries, public and retail spaces, and even to the individual self, professional concepts of 'curating' are undergoing rapid change. Today, everyone is seemingly able to 'curate', but where does this leave the traditional understanding of curation as clothing collected and displayed in a museum? This thought-provoking volume explores the practice of fashion curating in the 21st century, bridging the gap between methods of display and notions of 'the curatorial' in fashion exhibitions, commercial settings, and the virtual world.From fashion's earliest forays into the museum to creative collaborations between luxury fashion brands and artists, this book challenges understandings of fashion curation by drawing on the palpably new spaces, places, and actors in today's curating scene. Exploring poetic and performative museum displays in venues such as the V&A, Somerset House, MoMu and the Royal Ontario Museum, alongside the ways that brands such as Dior, Chanel and Louis Vuitton have made use of 'the curatorial' in their own commercial strategies, Fashion Curating asks pressing questions about controversial funding and collaboration from the commercial fashion sector, and the limitations of producing exhibitions that are at the same time critical and popular. Bringing together approaches from fashion curators, designers and world-renowned academics, curation is positioned as a critical practice that opens up new ways of conceptualizing and theorizing fashion, challenging how we think and what we already know.

Table of contents provided by Syndetics

• List of figures (p. vii)
• List of plates (p. xi)
• List of contributors (p. xiii)
• Acknowledgments (p. xv)
• Introduction: fashion curating in the museum and beyond (p. 1)
• Section 1 Inside The Museum (p. 17)
• Inside the museum-introduction (p. 17)
• 1 Confronting fashion's death drive: conservation, ghost labor, and the material turn within fashion curation (p. 21)
• 2 Permanence and impermanence: curating Western textiles and fashion at the Royal Ontario Museum (p. 39)
• 3 Unfamiliar places, local voices: four emerging curatorial narratives in Australia (2010-2016) (p. 57)
• 4 Fashion curation at MoMu: digital challenges (p. 73)
• Section 2 The Independents (p. 87)
• The independents-introduction (p. 87)
• 5 Props and other attributes: fashion and exhibition-making (p. 91)
• 6 Staging fashion in Somerset House, London (p. 105)
• 7 Boutique-Where Art and Fashion Meet; curating as collaboration and cultural critique (p. 119)
• 8 From lesbian and gay to queer: challenging the hegemony in collecting and exhibiting LGBT fashion and dress (p. 137)
• 9 Intervening fashion: a case for feminist approaches to fashion curation (p. 151)
• Section 3 Beyond The Museum (p. 167)
• Beyond the museum-introduction (p. 167)
• 10 Fashion museums and fashion exhibitions in Italy: new perspectives in Italian fashion studies (p. 171)
• 11 Beyond garments: reorienting the practice and discourse of fashion curating (p. 183)
• 12 Fashion curates art: Takashi Murakami for Louis Vuitton (p. 199)
• 13 Artification and authenticity: museum exhibitions of luxury fashion brands in China (p. 213)
• Index (p. 229)

Author notes provided by Syndetics