The Contextual Controversy
A few weeks back, Women's Wear Daily posted a brief article focusing on fashion curator Olivier Saillard and his upcoming exhibitions. Saillard has famously worked with Tilda Swinton in the past and is currently undertaking an impressive task with the actress: the presentation of the "Eternity Dress," a garment with the goal of "echo[ing] all of contemporary fashion."
Saillard's concepts are often highly thought out and breathtakingly fresh; what I found more interesting upon my first read-through of the article, however, was Saillard's own fashion ideology:
"More than ever, our role as museums is to show authors and not advertising initiatives. ... If a piece of clothing needs a set design around it, then it is not worth exhibiting. ... I think the more we talk about clothes and the less about fashion, the more everyone will gain from it."
What struck me so deeply about these statements is the seeming desire to escape the context of fashion history while trying to simultaneously celebrate it. Can you truly have one thing exclusive of the other? Personally, I am on board with Saillard's concept of removing the advertising, or rather the unabashed shallow spectacle, from fashion exhibitions. In recent history, I believe it is very safe to say the Met has been guilty of this; too much flash, too little signage. Saillard wants to celebrate the artistry and craftsmanship behind the clothing and that is something that should be highly championed. I would go as far as to agree that if a piece needs an elaborate set, perhaps it isn't worth displaying.
But, I feel Saillard misses the mark with his concept of more clothes, less fashion. Why? Because, simply, without fashion, would we have these clothes?
My studies in the field of fashion history tell me no, not at all. Fashion is derivative in its origins from social status; it has a long-standing history of cycling through influences of excessive to impoverished styles of dress. Its ties to art are obvious from the start; those creating the clothes were skilled and dedicated craftsmen. Art is part of the story, social status is part of the story, and thus, so is the social context of fashion. Like it or not, advertising plays a larger role now than ever in the story of fashion history.
I believe the new role for museums is to celebrate the artists who create the fashion; but the role of a historian/curator/museum professional constantly challenges one not to omit the context of our objects. I believe Saillard's sentiments can be carried out but must be done so within the realm of historical accuracy--context is so crucial to obtaining an accurate picture of our story as humans.
Maybe Saillard's comments were trying to touch on something deeper. I think in this age of fast fashion and advertisement overload, there is a definite draw to minimalism and quiet, yet skilled, artistry. Perhaps that's what Saillard wished to capture with his statements all along. I'm just glad there is someone like Olivier Saillard working within the field to promote a true appreciation for the significance behind truly historical and fashionable objects. And if his comments spark fashion ideological discussion, all the better.
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| Olivier Saillard and Tilda Swinton working on the Eternity Dress presentation / Photo credit: Katarina Jebb, 2013, WWD |
Saillard's concepts are often highly thought out and breathtakingly fresh; what I found more interesting upon my first read-through of the article, however, was Saillard's own fashion ideology:
"More than ever, our role as museums is to show authors and not advertising initiatives. ... If a piece of clothing needs a set design around it, then it is not worth exhibiting. ... I think the more we talk about clothes and the less about fashion, the more everyone will gain from it."
 |
| Roger Vivier for Christian Dior shoes on display in "Virgule, etc.--In The Footsteps of Roger Vivier", curated by Olivier Saillard / Photo credit: Roger Vivier/Oleg Covian, WWD |
What struck me so deeply about these statements is the seeming desire to escape the context of fashion history while trying to simultaneously celebrate it. Can you truly have one thing exclusive of the other? Personally, I am on board with Saillard's concept of removing the advertising, or rather the unabashed shallow spectacle, from fashion exhibitions. In recent history, I believe it is very safe to say the Met has been guilty of this; too much flash, too little signage. Saillard wants to celebrate the artistry and craftsmanship behind the clothing and that is something that should be highly championed. I would go as far as to agree that if a piece needs an elaborate set, perhaps it isn't worth displaying.
But, I feel Saillard misses the mark with his concept of more clothes, less fashion. Why? Because, simply, without fashion, would we have these clothes?
My studies in the field of fashion history tell me no, not at all. Fashion is derivative in its origins from social status; it has a long-standing history of cycling through influences of excessive to impoverished styles of dress. Its ties to art are obvious from the start; those creating the clothes were skilled and dedicated craftsmen. Art is part of the story, social status is part of the story, and thus, so is the social context of fashion. Like it or not, advertising plays a larger role now than ever in the story of fashion history.
 |
| Azzedine Alia gowns on display in an exhibit curated by Olivier Saillard / Photo credit: Dominique Maitre, WWD |
I believe the new role for museums is to celebrate the artists who create the fashion; but the role of a historian/curator/museum professional constantly challenges one not to omit the context of our objects. I believe Saillard's sentiments can be carried out but must be done so within the realm of historical accuracy--context is so crucial to obtaining an accurate picture of our story as humans.
Maybe Saillard's comments were trying to touch on something deeper. I think in this age of fast fashion and advertisement overload, there is a definite draw to minimalism and quiet, yet skilled, artistry. Perhaps that's what Saillard wished to capture with his statements all along. I'm just glad there is someone like Olivier Saillard working within the field to promote a true appreciation for the significance behind truly historical and fashionable objects. And if his comments spark fashion ideological discussion, all the better.
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